An essay about one of this director's films claims that the viewer is "returned" to the idea of "psychological liberty" because its ending shot opposes the forward tracking shots that dominate most of the film. This director's "Catholic guilt transference" was posited in an extensive study of his films written by Eric Rohmer and Claude Chabrol. This director and Josef von Sternberg are the major focus of the essay "Visual Pleasure and Narrative Cinema," written by Laura Mulvey. Helen Scott served as the interpreter during an eight day-long interview François (*) Truffaut conducted with this director. Robin Wood rose 
An essay about one of this director's films claims that the viewer is "returned" to the idea of "psychological liberty" because its ending shot opposes the forward tracking shots that dominate most of the film. This director's "Catholic guilt transference" was posited in an extensive study of his films written by Eric Rohmer and Claude Chabrol. This director and Josef von Sternberg are the major focus of the essay "Visual Pleasure and Narrative Cinema," written by Laura Mulvey. Helen Scott served as the interpreter during an eight day-long interview François (*) Truffaut conducted with this director. Robin Wood rose to prominence by critiquing a film by this director which contains a scene that ends by panning to a newspaper sitting on a nightstand, before a character yells out "Mother! Oh God, Mother! Blood! Blood!" In that scene by this director, Marion Crane is repeatedly stabbed to a shrieking score composed by Bernard Herrmann. For 10 points, name this director of Psycho.
An essay about one of this director's films claims that the viewer is "returned" to the idea of "psychological liberty" because its ending shot opposes the forward tracking shots that dominate most of the film.
Alfred (Joseph) Hitchcock