Alfred Hitchcock was notorious for his manipulation of audiences and mastery of cinematic technique. What has been neglected, however, is Hitchcock’s art of adaptation: the ingenious ways he used literary texts as points of departure for his cinema. Hitchcock’s relationship to literary works is fertile ground for research on the director as a reader and a writer, as well as a filmmaker. _Clues_ seeks previously unpublished papers about how Hitchcock’s films offer new paradigms for cinematic adaptation.

Topics may include (but are not limited to) the following:

• Hitchcock’s adaptations of works by canonical writers such as Joseph Conrad and Sean O’Casey;

• Analyses of his collaborations with prestigious authors of his day (e.g., John Steinbeck, Thornton Wilder) and with major screenwriters such as Ben Hecht and Arthur Laurents;

• Essays on Hitchcockian revisions of popular novels by authors such as Daphne du Maurier, Cornell Woolrich, and Robert Bloch;

• Research on modern and contemporary literary works that employ Hitchcockian plots and devices;

• Studies demonstrating how Hitchcock’s reading of authors such as Edgar Allan Poe, Lewis Carroll, and John Buchan informs his cinema;

• Papers treating Hitchcock’s relationships with collaborators such as Joan Harrison and his wife, Alma Reville; and

• Original biographical/production-history research on Hitchcock’s writing process.

Each potential contributor should send a 300-word proposal and one-page CV to Janice Allan, _Clues_ executive editor, at J.M.Allan@salford.ac.uk. Full-length essays of 3,500–6,000 words will be solicited from these proposals, with final essays due by June 2012.