The article’s aim is to reflect upon the role and place of natural landscape in Alfred
Hitchcock’s filmography. Its pivotal thesis sums up in a view that spatial issues (regarding
objects, locations, real places) were of keen interest to the director while film geography
constituted to him a kind of creative method. Some of Hitchcock’s works of the Hollywood
period are subject to analysis herein, which concentrates upon recognising the
essence of those films’ relationships to the city, the ways of seeing natural, urbanistic,
and national landscape, as well as deciphering the cultural code of the post‐
war America
while using both the ideological and quotidian key
