Hugo Riesenfeld was an Austrian-American composer. As a film director, he began to write his own orchestral compositions for silent films in 1917, co-created modern production techniques where film scoring serves an integral part of the action. Riesenfeld composed about 100 film scores in his career, his most successful compositions were for Cecil B. DeMille's The Ten Commandments and The King of Kings. Born in Vienna, Riesenfeld's musical career began at the age of seven with a violin study at the Conservatory of the Gesellschaft der Musikfreunde in his city of birth, where he graduated at the age of 17 in piano and composition degrees, he played in the Vienna Philharmonic. By the end of the 19th century, he was playing with Arnold Schönberg, Arthur Bodanzky, Edward Falck in a local string quartet. In 1907, Riesenfeld emigrated to New York City, where he worked until 1911 as concert-master for Oscar Hammerstein's Manhattan Opera Company, he served three seasons as bandleader of the musical company, Klaw & Erlanger, followed by a stint as concertmaster and conductor at the Century Opera.
He did his first work in film when he conducted the accompaniment for Jesse L. Lasky's production of Carmen. Succeeding Samuel Lionel Rothafel—later known as "Roxy" Rothafel—as conductor of the Broadway theatres the Rivoli, the Rialto, the Criterion, he conducted from 1917 to 1925, introducing the practice of long-run resident film musicians; the cinemas were among the first. In 1923, an article about Riesenfeld stated, "occasionally ten weeks the same piece with undiminished force – so knows he his audience" in a New York City article wrote the Viennese magazines about Riesenfeld. "He says, know the audience and know what you must show him the secret of success at the theater and cinema." "just customize and know what's there and what'draws'." On 15 April 1923, with inventor Lee de Forest, Riesenfeld co-presented a show at the Rivoli Theater in New York City of 18 short films made in the Phonofilm sound-on-film process. In 1923, Riesenfeld formed The Red Seal Pictures Corporation, partnered with Edwin Miles Fadiman, Dr. Lee deForest, Max Fleischer to distribute American and foreign films through their chain of 36 theaters that extended as far as Cleveland, Ohio.
In May 1926, Max Fleischerbegan producing a series of sound versions of their popular "Bouncing Ball"Song Car-Tunes, using the Lee de Forest Phonofilm sound-on-film process. The corporation filed for bankruptcy in late 1926, shortly after De Forest Phonofilm filed for bankruptcy in September 1927. Most large movie theaters in the U. S. had their own orchestras for silent film accompaniment, with smaller theaters having just a theatre organ, photoplayer or piano. The musicians relied on an existing repertoire of opera and excerpts from other compositions. Riesenfeld began as one of the first to write original compositions for films; as an example, the "Brother's Theme" was a mainstay of the 1926 release of Beau Geste. Next to Albert William Ketèlbey and Ernö Rapée, Riesenfeld was a pioneer of modern, high-quality production of music, he co-founded the cinema library music—topical collections of music for silent film orchestra and musicians also. "Mr. Riesenfeld puts much emphasis on the music in the movies", in an article about Riesenfeld and film music.
"Orchestra with organ varies in its two large theatres. His organist gets $250 a week, 70 orchestra musicians are well-paid because the lowest wage is 70 dollars a week. Of course, the business costs in America are quite different than ours. Mr. Riesenfeld explains that he must have a dose of 50,000 dollars per week to reach its expenses and to this purpose otherwise it zahle weekly 120,000 spectators as he. News always appear in the first week in its theatres. "Mr. Riesenfeld paid up to 6000 dollars a week for the presentation rights for a good movie." When he wrote the music for the Western movie The Covered Wagon, Riesenfeld was one of the most employed film composers in Hollywood. From 1928 to 1930, he was General Music Director of United Artists. After that time, Riesenfeld worked for independent productions. Away from the film industry, he was orchestra conductor of the Los Angeles Symphony and as a composer in the classical sector, he composed the ballet Chopin's Dances, the comic opera Merry Martyr, the musical Betty Be Good, Children's Suite and overtures, orchestral music, songs.
Riesenfeld died in 1939 in Los Angeles after a severe illness. His daughter Janet starred in some Mexican movies as a dancer and actress under the pseudonym Raquel Rojas and Janet Alcorzia and became a screenwriter. A selection of film compositions, unless otherwise noted: 1915: Carmen directed by Raoul Walsh 1917: Joan the Woman directed by Cecil B. DeMille 1918: A Christmas Fantasy short film 1919: Sahara directed by Arthur Rosson 1920: Humoresque directed by Frank Borzage 1921: La Tosca directed by Edward José 1921: Reputation directed by Stuart Paton 1923: The Ten Commandments directed by Cecil B. DeMille 1923: The Covered Wagon directed by James Cruze 1923: The Hunchback of Notre Dame directed by Wallace Worsley 1925: Beggar on Horseback directed by James Cruze 1925: The Wanderer directed by Raoul Walsh 1926: The Volga Boatman directed by Cecil B. DeMille 1926: Old Ironsides directed by James Cruze 1926: Beau Geste directed by Herbert Brenon 1926: The Sorrows of Satan directed by D. W. Griffith 1927: Chang directed by Merian C. Cooper and Ernest B.
1937 Fox vault fire
On July 9, 1937, a major fire broke out in a 20th Century Fox film storage facility in Little Ferry, New Jersey, United States. Flammable nitrate film had contributed to several high-profile fires in film industry laboratories and vaults, although the precise causes were unknown. In Little Ferry, gases produced by decaying film, combined with high temperatures and inadequate ventilation, resulted in spontaneous combustion. One death and two injuries resulted from the fire, which destroyed all of the archived film in the vaults, resulting in the complete loss of most of the silent films produced by Fox Film Corporation before 1932. Destroyed were Educational Pictures negatives and films of several other studios; the fire brought attention to the potential for decaying nitrate film to spontaneously ignite, changed the focus of film preservation efforts to include a greater focus on fire safety. Production and use of nitrate film was phased out in favor of safer alternatives; the early motion-picture industry used nitrocellulose film stock called nitrate film.
This film is flammable, produces its own oxygen supply as it burns. Nitrate fires burn and cannot be extinguished, as they are capable of burning under water. Nitrocellulose is subject to thermal decomposition and hydrolysis, breaking down over time in the presence of high temperatures and moisture; this decaying film stock releases nitrogen oxides that themselves contribute to the decay and make the damaged film burn more easily. Under the right conditions, nitrate film can spontaneously combust. In part because of substantial variability in the manufacturing of early film, considerable uncertainty exists about the circumstances necessary for self-ignition. Sustained temperatures of 100 °F or higher, large quantities of nitrate film, increased humidity, poor ventilation, aged or decaying film have all been considered risk factors. Most such fires in film archives have taken place in heat waves during summer months, in closed facilities with limited ventilation, compounding several of these variables.
In confined areas, such fires can result in explosions. Large and dangerous fires sometimes resulted. On May 4, 1897, one of the first major fires involving nitrate film began when a Lumière projector caught fire at the Bazar de la Charité in Paris; the resulting blaze caused 126 deaths. In the United States, a series of fires occurred at industry facilities; the Lubin Manufacturing Company's vault in Philadelphia exploded on June 13, 1914, followed on December 9 by a fire that destroyed Thomas Edison's laboratory complex in West Orange, New Jersey. The New York studio of the Famous Players Film Company burned in September 1915; the United Film Ad Service vault in Kansas City, burned on August 4, 1928, a fire was reported at Pathé Exchange nine days later. In October 1929, the Consolidated Film Industries facility was badly damaged by a nitrate fire. Spontaneous combustion was not proven to have occurred in any of these fires, may not have been recognized as possible before a 1933 study determined that the temperatures necessary for nitrate film to self-ignite had been overestimated.
When Little Ferry, New Jersey, contractor William Fehrs was hired to construct a film storage facility in 1934, he designed the structure to be fireproof. The building had a reinforced concrete roof. Internally, it was divided into 42 individual vaults, each enclosed behind a steel door and separated by 8-inch brick interior walls; the local fire department confirmed Fehrs's fireproofing. However, it was equipped with neither a fire sprinkler system nor mechanical ventilation, no security guard was employed to watch the facility. Despite the potential fire danger of stored film, the building was located in a residential neighborhood. Film processing company DeLuxe Laboratories owned the building, rented it to 20th Century Fox to store the silent films acquired from Fox Film Corporation after its merger with Twentieth Century Pictures. Northern New Jersey experienced a heat wave in July 1937, with daytime temperatures of 100 °F and warm nights; the sustained heat contributed to nitrate decomposition in the film vaults, the building's ventilation was inadequate to prevent a dangerous buildup of gases.
At some time shortly after 2:00 am on July 9, spontaneous ignition occurred in the vault at the building's northwest corner. Local truck driver Robert Davison observed flames coming from one of the structure's window vents, within five minutes, used a municipal fire alarm call box to report the fire. Davison attempted to awaken the residents of the surrounding houses, many of whom were alerted to the situation by the noise and intense heat; as decomposition gases in additional vaults ignited, bursts of fire shot over 100 feet horizontally across the ground from the windows, a similar distance into the air from the building's roof vents. The vaults in the south and east of the building contained a higher concentration of flammable gas; when the fire spread to them, they exploded, blowing out window frames. Anna Greeves and her two sons and Charles, were caught in a "sheet of flame" while attempting to flee the area. All three were burned. Other families were able to escape unharmed as the fire spread to five neighboring residences and destroyed two vehicles.
Little Ferry firefighters first arrived at 2:26 am, followed by compan
Margaret Livingston, sometimes credited as Marguerite Livingstone or Margaret Livingstone, was an American film actress and businesswoman, most notable for her work during the silent film era. She is best known today as "the Woman from the City" in F. W. Murnau's 1927 film Sunrise: A Song of Two Humans. Livingston was born in Salt Lake City, Utah to John Livingston, a Scottish immigrant, Eda Livingston, born in Stockholm, Sweden, she was raised in Salt Lake City along with her older sister, who became a film actress. The young Livingston made her debut in films in 1916, she made over 50 films during the "silent era," most notably in F. W. Murnau's Sunrise: A Song of Two Humans, a further 20 films after she made the transition to sound film in 1929, including Smart Money starring Edward G. Robinson and James Cagney, she dubbed voices for some other actresses, including Louise Brooks for The Canary Murder Case. Livingston was a guest on William Randolph Hearst's yacht the Oneida during the weekend in November 1924 with film director and producer Thomas Ince, who died of heart failure.
In the Peter Bogdanovich film The Cat's Meow, played by Claudia Harrison, is depicted as having an affair with Ince at the time of his death. On August 18, 1931, she married the band leader Paul Whiteman in a ceremony in Denver and retired from film acting in 1934. Livingston was unable to have children, adopted four with her husband, she spent the remainder of her life investing in oil ventures and real estate, was a partner in the construction of the Colonial House in West Hollywood, California. Livingston died in Warrington, Pennsylvania on December 13, 1984, at age 89. "Margaret Livingston: "The Other Woman"". Films in Review. National Board of Review of Motion Pictures. 36. 1985. Margaret Livingston on IMDb Margaret Livingston at Find a Grave Margaret Livingston at Virtual History
The Fox Film Corporation was an American company that produced motion pictures, formed by William Fox on 1 February 1915. It was the corporate successor to his earlier Greater New York Film Rental Company and Box Office Attractions Film Company; the company's first film studios were set up in Fort Lee, New Jersey but in 1917, William Fox sent Sol M. Wurtzel to Hollywood, California to oversee the studio's new West Coast production facilities where a more hospitable and cost effective climate existed for filmmaking. On July 23, 1926, the company bought the patents of the Movietone sound system for recording sound on to film. After the Crash of 1929, William Fox lost control of the company during a hostile takeover. Under new president Sidney Kent, the new owners merged the company with Twentieth Century Pictures to form 20th Century Fox in 1935. William Fox entered the film industry in 1904 when he purchased a one-third share of a Brooklyn nickelodeon for $1,667, he reinvested his profits from that initial location, expanding to fifteen similar venues in the city, purchasing prints from the major studios of the time: Biograph, Kalem, Pathé, Vitagraph.
After experiencing further success presenting live vaudeville routines along with motion pictures, he expanded into larger venues beginning with his purchase of the disused Gaiety theater, continuing with acquisitions throughout New York City and New Jersey, including the Academy of Music. Fox invested further in the film industry by founding the Greater New York Film Rental Company as a film distributor. However, the major film studios formed the Motion Picture Patents Company in 1908 and the General Film Company in 1910, in an effort to create a monopoly on the creation and distribution of motion pictures. Fox refused to sell out to the monopoly, sued under the Sherman Antitrust Act receiving a $370,000 settlement, ending restrictions on the length of films and the prices that could be paid for screenplays. In 1914, reflecting the broader scope of his business, he renamed it the Box Office Attraction Film Rental Company, he entered into a contract with the Balboa Amusement Producing Company film studio, purchasing all of their films for showing in his New York area theaters and renting the prints to other exhibitors nationwide.
He continued to distribute material from other sources, such as Winsor McCay's early animated film Gertie the Dinosaur. That year, Fox concluded that depending on other companies for the products he depended on was insufficient, he purchased the Éclair studio facilities in Fort Lee, New Jersey, along with property in Staten Island, arranged for actors and crew. The company became a film studio, with its name shortened to the Box Office Attractions Company. Always more of an entrepreneur than a showman, Fox concentrated on building theaters; the company's first film studios were set up in Fort Lee, New Jersey where it and many other early film studios in America's first motion picture industry were based at the beginning of the 20th century. In 1914, Fox Film began making motion pictures in California, in 1915 decided to build its own permanent studio; the company leased the Edendale studio of the Selig Polyscope Company until its own studio, located at Western Avenue and Sunset Boulevard, was completed in 1916.
In 1917, William Fox sent Sol M. Wurtzel to Hollywood to oversee the studio's West Coast production facilities where a more hospitable and cost-effective climate existed for filmmaking. With the introduction of sound technology, Fox moved to acquire the rights to a sound-on-film process. In the years 1925–26, Fox purchased the rights to the work of Freeman Harrison Owens, the U. S. rights to the Tri-Ergon system invented by three German inventors, the work of Theodore Case. This resulted in the Movietone sound system known as "Fox Movietone" developed at the Movietone Studio; that year, the company began offering films with a music-and-effects track, the following year Fox began the weekly Fox Movietone News feature, that ran until 1963. The growing company needed space, in 1926 Fox acquired 300 acres in the open country west of Beverly Hills and built "Movietone City", the best-equipped studio of its time; when rival Marcus Loew died in 1927, Fox offered to buy the Loew family's holdings. Loew's Inc. controlled more than 200 theaters, as well as the MGM studio.
When the family agreed to the sale, the merger of Fox and Loew's Inc. was announced in 1929. But MGM studio boss Louis B. Mayer was not fought back. Using political connections, Mayer called on the Justice Department's antitrust unit to delay giving final approval to the merger. Fox was badly injured in a car crash in the summer of 1929, by the time he recovered he had lost most of his fortune in the fall 1929 stock market crash, ending any chance of the merger going through without the Justice Department's objections. Overextended and close to bankruptcy, Fox was stripped of his empire in 1930 and ended up in jail for bribery charges. Fox Film, with more than 500 theatres, was placed in receivership. A bank-mandated reorganization propped the company up for a time, but it soon became apparent that despite its size, Fox could not stand on its own. William Fox resented the way he was forced out of the company and portrayed it as an active conspiracy against him in the 1933 book Upton Sinclair Presents William Fox.
Under new president Sidney Kent, the new owners began negotiating with the upstart, but powerful independent Twentieth Century Pictures in the early spring of 1935. The two companies merged that spring as 20th Century-Fox. For many years, 20th Century Fox claimed to hav
F. W. Murnau
Friedrich Wilhelm Murnau was a German film director. He was influenced by Schopenhauer, Nietzsche and Ibsen plays he had seen at the age of 12, became a friend of director Max Reinhardt. During World War I he served as a company commander at the eastern front and was in the German air force, surviving several crashes without any severe injuries. One of Murnau's acclaimed works is an adaptation of Bram Stoker's Dracula. Although not a commercial success, owing to copyright issues with Stoker's novel, the film is considered a masterpiece of Expressionist film, he directed the 1924 film The Last Laugh, as well as a 1926 interpretation of Goethe's Faust. He emigrated to Hollywood in 1926, where he joined the Fox Studio and made three films: Sunrise, 4 Devils and City Girl; the first of these three is regarded as one of the greatest films made. In 1931, Murnau travelled to Bora Bora to make the film Tabu with documentary film pioneer Robert J. Flaherty, who left after artistic disputes with Murnau, who had to finish the movie on his own.
A week prior to the opening of the film Tabu, Murnau died in a Santa Barbara hospital from injuries he had sustained in an automobile accident that occurred along the Pacific Coast Highway near Rincon Beach, southeast of Santa Barbara. Of the 21 films Murnau directed, eight are considered to be lost. One reel of his feature Marizza, genannt die; this leaves only 12 films surviving in their entirety. Friedrich Wilhelm Plumpe was born in Province of Westphalia. By the age of seven, he was living in Kassel, northern Hesse, he had two brothers and Robert, two stepsisters and Anna. His mother, Otilie Volbracht, was the second wife of his father, Heinrich Plumpe, an owner of a cloth factory in the northwest part of Germany, their villa was turned into a stage for little plays, directed by the young Friedrich, who had read books by Schopenhauer, Nietzsche and Ibsen plays by the age of 12. Plumpe would take the pseudonym of "Murnau" from the town of that name near Lake Staffel, south of Munich, where he lived for a time.
The young Murnau was 6' 4" tall, was said to have an icy, imperious disposition and an obsession with film. Some reference sources list him as being 7 feet tall, but extant photos show him to be closer to 6'4". Murnau studied philology at the University in Berlin and art history and literature in Heidelberg, where director Max Reinhardt saw him at a students' performance and decided to invite him to his actor-school, he soon became a friend of Else Lasker-Schüler and Hans Ehrenbaum-Degele. In World War I Murnau served as a company commander at the eastern front, he joined the Imperial German Flying Corps and flew missions in northern France for two years. After landing in Switzerland, he was interned for the remainder of the war. In his POW camp he wrote a film script. After World War I ended, Murnau returned to Germany where he soon established his own film studio with actor Conrad Veidt, his first feature-length film, The Boy in Blue, a drama inspired by the famous Thomas Gainsborough painting, was released in 1919.
He explored the popular theme of dual personalities, much like Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, in 1920's Der Janus-Kopf starring Veidt and featuring Bela Lugosi. Murnau's most famous film is Nosferatu, a 1922 adaptation of Bram Stoker's Dracula, starring German stage actor Max Schreck as the vampire Count Orlok; the release would be the only one by Prana Film because the company declared itself bankrupt in order to avoid paying damages to Stoker's estate after the estate won a copyright infringement lawsuit. Apart from awarding damages, the court ordered all existing prints of the film to be destroyed. However, one copy had been distributed globally; this print, duplicated time and again by a cult following over the years, has made Nosferatu an early example of a cult film. In Murnau's filmography was The Last Laugh, written by Carl Mayer and starring Emil Jannings; the film introduced the subjective point of view camera, where the camera "sees" from the eyes of a character and uses visual style to convey a character's psychological state.
It anticipated the cinéma vérité movement in its subject matter. The film used the "unchained camera technique", a mix of tracking shots, pans and dolly moves. Unlike the majority of Murnau's other works, The Last Laugh is considered a Kammerspielfilm with Expressionist elements. Unlike expressionist films, Kammerspielfilme are categorized by their chamber play influence, involving a lack of intricate set designs and story lines / themes regarding social injustice towards the working classes. Murnau was gay. Murnau's last German film was the big budget Faust with Gösta Ekman as the title character, Emil Jannings as Mephisto and Camilla Horn as Gretchen. Murnau's film draws on older traditions of the legendary tale of Faust as well as on Goethe's classic version; the film is well known for a sequence in which the giant, winged figure of Mephisto hovers over a town sowing the seeds of plague. Nosferatu and Faust were two of the first films to feature original film scores. Murnau emigrated to Hollywood in 1926, where he joined the Fox Studio and made Sunrise: A Song of T
Arthur Housman was an American actor in films during both the silent film era and the Golden Age of Hollywood. As a leading man, Housman became known as Hollywood's most familiar comic drunkard in films of the 1930s playing cameo parts in features but with better opportunities in short films, his best remembered roles were in several Laurel and Hardy films, notably Scram!, Our Relations and The Live Ghost. Housman was thought to have an offscreen drinking problem, as well, but he continued appearing in films until his death, his final role was in the low-budget exploitation film Escort Girl made in 1941. Housman died of pneumonia at age 52, he was married to Ellen Grubley from 1919 until his death in 1942. Arthur Housman on IMDb Arthur Housman at the TCM Movie Database Arthur Housman at Find a Grave
Alfred Hitchcock Presents
Alfred Hitchcock Presents is an American television anthology series, hosted and produced by Alfred Hitchcock. It featured dramas and mysteries. Between 1962 and 1965 it was renamed The Alfred Hitchcock Hour. By the time the show premiered on October 2, 1955, Hitchcock had been directing films for over three decades. Time magazine named Alfred Hitchcock Presents as one of "The 100 Best TV Shows of All Time"; the Writers Guild of America ranked it #79 on their list of the 101 Best-Written TV Series tying it with Monty Python's Flying Circus, Star Trek: The Next Generation and Upstairs, Downstairs. A series of literary anthologies with the running title Alfred Hitchcock Presents were issued to capitalize on the success of the television series. One volume, devoted to stories that censors wouldn't allow to be adapted for broadcast, was entitled Alfred Hitchcock Presents: Stories They Wouldn't Let Me Do on TV—though several of the stories collected were adapted. Alfred Hitchcock Presents is well known for its title sequence.
The camera fades in on a simple line-drawing caricature of Hitchcock's rotund profile as the program's theme music plays Charles Gounod's Funeral March of a Marionette. Hitchcock appears in silhouette from the right edge of the screen, walks to center screen to eclipse the caricature, he almost always says, "Good evening." The caricature drawing and Gounod's Funeral March of a Marionette have become indelibly associated with Hitchcock in popular culture. Hitchcock appears again after the title sequence and drolly introduces the story from an empty studio or from the set of the current episode. Allardice. At least two versions of the opening were shot for every episode. A version intended for the American audience would spoof a recent popular commercial or poke fun at the sponsor, leading into the commercial. An alternative version for European audiences would include jokes at the expense of Americans in general. For seasons, opening remarks were filmed with Hitchcock speaking in French and German for the show's international presentations.
Hitchcock closed the show in much the same way as it opened, but to tie up loose ends rather than joke. A leading character in the story would have gotten away with a criminal activity. Hitchcock told TV Guide that his reassurances that the criminal had been apprehended were "a necessary gesture to morality."Alfred Hitchcock Presents finished at number 6 in the Nielsen ratings for the 1956–57 season, number 12 in 1957–58, number 24 in 1958–59, number 25 in 1959–60. The series was 25 minutes per episode, but it was expanded to 50 minutes in 1962 and retitled The Alfred Hitchcock Hour. Hitchcock directed 17 of the 267 filmed episodes of Alfred Hitchcock Presents—four during the first season and one or two per season thereafter, he directed only the fourth of the 93 50-minute episodes, entitled "I Saw the Whole Thing" with John Forsythe. The last new episode aired on June 26, 1965, but the series has continued to be popular in television syndication for decades. Actors appearing in the most episodes include Patricia Hitchcock, Dick York, Robert Horton, James Gleason, John Williams, Robert H. Harris, Russell Collins, Barbara Baxley, Ray Teal, Percy Helton, Phyllis Thaxter, Carmen Mathews, Mildred Dunnock, Alan Napier, Robert Vaughn, Vincent Price.
Many notable film actors, such as Robert Redford, Sir Cedric Hardwicke, Robert Newton, Steve McQueen, Bruce Dern, Walter Matthau, Laurence Harvey, Claude Rains, Dennis Morgan, Joseph Cotten, Vera Miles, Tom Ewell, Peter Lorre, Dean Stockwell, Barbara Bel Geddes, among others appeared on the series. The directors who directed the most episodes included Robert Stevens, Paul Henreid, Herschel Daugherty, Norman Lloyd, Alfred Hitchcock, Arthur Hiller, James Neilson, Justice Addiss, John Brahm. Other notable directors included Robert Altman, Ida Lupino, Stuart Rosenberg, Robert Stevenson, David Swift and William Friedkin, who ended up directing what would be the last episode; the broadcast history was as follows: Sunday at 9:30–10 p.m. on CBS: October 2, 1955 – September 1960 Tuesday at 8:30–9 p.m. on NBC: September 1960 – September 1962 Thursday at 10–11 p.m. on CBS: September—December 1962 Friday at 9:30–10:30 p.m.on CBS: January— September 1963 Friday at 10–11 p.m. on CBS: September 1963 – September 1964 Monday at 10–11 p.m. on NBC: October 1964 – September 1965 See List of Alfred Hitchcock Presents episodes and List of The Alfred Hitchcock Hour episodes for more details.
Alfred Hitchcock Presents, 25 minutes long, aired weekly at 9:30 on CBS on Sunday nights from 1955 to 1960, at 8:30 on NBC on Tuesday nights from 1960 to 1962. It was followed by The Alfred Hitchcock Hour, which lasted for three seasons, September 1962 to June 1965, adding another 93 episodes to the 268 produced for Alfred Hitchcock Presents. Two episodes that were directed by Hitchcock were nominated for Emmy Awards; the first episode was "The Case of Mr. Pelham" in 1955 that starred Tom Ewell while the second was "Lamb to the Slaughter" in 1958 that starred Barbara Bel Geddes and Harold J. Stone. In 2009 TV Guide's list of "100 Greatest Episodes of All Time" ranked "Lamb to the Slaughter" at #59; the third season opener "The Glass Eye" won an Emmy Award for director Robert Stevens. An episode of The Alf