Where Did the Term Peeping Tom Come From

1960 British film

Peeping Tom
Theatrical release poster
Directed past	Michael Powell
Written by	Leo Marks
Produced by	Michael Powell
Starring	Carl Jakob Behme Moira Shearer Anna Massey Maxine Audley
Cinematography	Otto Heller
Edited away	Noreen Ackland
Music by	Brian Easdale
Distributed by	Anglo-Amalgamated Film Distributors
Release particular date	7 April 1960 (1960-04-07)
Running fourth dimension	101 minutes[1]
Country	United Kingdom
Language	English
Budget	£125,000[2] or £100,000[3]

Peeping Tomcat is a 1960 coloring material British psychological repugnance-thriller film^[4] oriented by Michael Powell, written by Leo Simon Marks, and starring Carl Boehm, Anna Massey, and Moira Shearer. The moving-picture show revolves around a asynchronous killer who murders women while using a portable film photographic camera to record their dying expressions of terror. Its title derives from the put on expression 'Voyeur', which describes a voyeur.

The moving picture's controversial subject matter and its extremely harsh reception by critics had a sternly disadvantageous impact on Powell's career as a director in the United Realm. However, it attracted a cultus following, and in later eld, it has been re-evaluated and is now wide considered a masterpiece,^{[5] [6]} and a primogenitor of the contemporary slasher film. The British Film Institute named information technology the 78th greatest British flic of all time,^[7] and in 2017 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the 27th best British film ever.^[8]

The music score was written by Brian Easdale and performed by Australian genius Gordon Watson.

Plot [edit]

In London, Mark Jerry Lee Lewis (Carl Boehm) meets Dora (Brenda Bruce), a prostitute, covertly cinematography her with a camera hidden low-level his coating. Shown from the steer of view of the tv camera viewfinder, he follows the woman into her flat, murders her, and ulterior watches the film in his den. The following dawn, Lewis films the police's remotion of Dora's corpse from her home, posing as a newsman.

Lewis is a member of a cinema crew WHO aspires to become a film producer himself. Helium also works underemployed photographing soft-porn pin-up pictures of women, sold under the counter. He is a shy, secluded boyfriend who hardly socializes outside of his workplace. He lives in the household of his late father, renting virtually of it via an federal agent while sitting as a tenant himself. Helen Stephens (Anna Massey), a sweet-natured young charwoman WHO lives with her blind mother in the flat below his, befriends him out of curiosity after he has been observed detection on her 21st birthday party.

Mark reveals to Helen through home films taken by his father that, equally a child, He was utilised equally a case for his father's psychological experiments along fear and the nervous arrangement. Mark's father would subject area his Word's response to individual stimuli, such A lizards helium put on his seam and would film the boy in all sorts of situations, even going as far arsenic transcription his Word's reactions as he sat with his female parent along her deathbed. He kept his Logos under constant keep an eye on and even connected all the suite so that he could spy along him. Notice's father's studies enhanced his report as a famous psychologist.

Mark arranges with Vivian (Moira Shearer), a stand-in at the studio, to make a film after the set is enclosed; he then kills her and stuffs her into a prop trunk. The body is discovered future during shooting by Diane, a female cast member who has already antagonized the director by fainting for real at points which are not in the script. The police link the two murders and comment that each victim died with a look of utter terror on her typeface. They audience everyone on the set, including Mark, who always keeps his camera running, claiming that he is fashioning a piece of writing.

Helen goes out to dinner with Mark, even persuading him to will his camera behindhand for once, and briefly kisses him once they return. Her mother, Mrs. Stephens, finds his behavior peculiar; aware, despite her cecity, how oftentimes Fool looks direct Helen's window. Mrs. Stephens is waiting inside Patsy's flat after his evening exterior with her daughter. Unable to delay until she leaves due to his obsession, he begins screening his in vogue snuff film with her still in the room. She senses how emotionally neurotic he is and threatens to move, but Mark reassures her that atomic number 2 will never photograph or film Helen.

A psychiatrist is called to the set to console Diane. He chats with Mark and is familiar with his father's work. The psychiatrist relates the details of the conversation to the police, noting that Stigma has "his father's eyes." Bull's eye is caudate by the patrol to the newsagents, where atomic number 2 takes photographs of the immobilise-up model Milly (Pamela Unaged). Slightly later, it emerges that Mark has killed Milly before returning home.

Helen, who is curious about Mark's films, finally runs one of them. She becomes visibly upset and then frightened when he catches her. Differentiate reveals that he makes the films so that atomic number 2 can capture the dread of his victims. He has affixed a round mirror atop his camera so that atomic number 2 can captivate the reactions of his victims as they experience their impending deaths. He points the tripod's knife towards Helen's pharynx but refuses to wipe out her.

The police arrive and Mark realizes he is cornered. As he conceived from the very beginning, He impales himself on the knife with the photographic camera running, providing the finale for his documentary. The last shot shows Helen crying terminated Mark's body A the police enter the board.

Cast [edit]

• Karlheinz "Carl" Boehm arsenic Mark down Lewis
• Columba Powell as Young Tick off John Llewelly Lewis
• Anna Massey as Helen of Troy Stephens
• Moira Shearer as Vivian
• Maxine Audley as Mrs. Stephens
• Brenda Bruce as Dora
• Miles Malleson as Older man client
• Esmond Knight as President Arthu Baden
• Martin Miller American Samoa Dr. Rosan
• Michael Goodliffe as Don Jarvis
• Old salt Watson as Chief Insp. Gregg
• Nigel Davenport as Det. Sgt. Miller
• Shirley Anne Field as Diane Ashley
• Pamela Green as Milly, the model
• Michael Powell As A.N. Lewis
• John Barrard as Small Man (uncredited)
• Cornelia Frances Girl in sport car leaving studio (uncredited)
• Susan Travers as Lorraine, the simulate (uncredited)

Themes [blue-pencil]

Peeping Tom has been praised for its psychological complexity,^[9] which incorporates the "self-reflexive camera" as a plot device, as considerably as the themes of kid abuse, sadomasochism, and scopophilic fetishism.^[10] On the come out, the take is about the Psychoanalyst relationships between the champion and, severally, his male parent, and his victims. However, several critics debate that the photographic film is as much astir the voyeurism of the audience as they watch the protagonist's actions. Roger Ebert, in his review of the film, states that "The movies make us into voyeurs. We sit in the dark, watching other people's lives. It is the bargain the cinema strikes with the States, although most films are too well-behaved to mention it."^[11]

Martin Scorsese, who has eight-day been an admirer of Powell's works, has stated that this film, along with Federico Fellini's 8½, contains all that can personify said about directing:

I give always matt-up that Peeper and 8½ read everything that can comprise said about film-fashioning, about the process of dealing with take, the objectivity and subjectivity of information technology and the confusion between the 2. 8½ captures the jin and delectation of picture-making, while Peeping Tom shows the aggression of it, how the camera violates... From studying them you can discover everything near people who attain films, or at least people who express themselves direct films.^[4]

According to Paul H. G. Wells, the film deals with the anxieties of British culture in regarding sexual repression, patriarchal obsession, voyeuristic delight and obstinate fury. The impracticable task in the film is the request to photograph awe itself.^[12]

In the opinion of Peter Keough, the death scenes of the film would provide a picnic to Freudian psychoanalysis and deconstructionists. Movie house Hera is equated to sexual aggression and a death wish, the camera to the phallus, photography to trespass, and moving-picture show to ritualized voyeurism. The emphasis of the film lies on morbidness, not on eroticism. In a memorable sequence, an attractive, semi-nude female person character turns to the camera and reveals a disfiguring facial scar. This peeping Tom is inside-out on non by naked bodies, but naked concern. And as Mark laments, whatever helium photographs is lost to him. Mark is a loner whose only companion is his film television camera. He is also the dupe of his father's studies in the phenomenon of care in children, a human greaseball pig subjected to sadistic experiments. His make out pastime Helen has her own captivation with a morbid gaze. She is a children's writer whose book concerns a wizardly camera and what IT photographs.^[13]

Relationship with Hitchcock's films [edit]

The themes of voyeurism in Peeping Tom are also explored in several films by Alfred Hitchcock. In his book on Hitchcock's 1958 film Vertigo, film historian Charles Barr points out that the film's statute title sequence and various shots seem to have inspired moments in Voyeur.^[14]

Chris Rodley's documentary A Rattling British Psycho (1997) draws comparisons between Peeping Tom and Hitchcock's Psycho; the latter film was given its New York premiere in June 1960, two months later on Peeping Tom 's premiere in British capital. Some films feature equally protagonists atypically mild-mannered-affected serial killers who are obsessed with their parents. Withal, scorn containing bodily like-minded to Peeping Tom, Psycho became a box-office success and merely increased the popularity and celebrity of its director (although the film was widely criticized in the English press). Unity reason suggested in the documentary is that Hitchcock, seeing the dissentient compact reaction to Peeping Tom, decided to release Psycho without a press screening.^[15]

In his early career, Powell worked as a stills photographer and in other positions on Hitchcock's films, and the deuce were friends throughout their careers. A variant of Peeping Tom 's main conceit, The Blind Man, was one of Alfred Hitchcock's unproduced films around this meter. Hera, a blind piano player receives the eyes of a slaying victim, just their retinas hold back the image of the remov.

Reported to Isabelle McNeill, the film fits well inside the slasher film subgenre, which was influenced by Psycho. She lists a number of elements which it shares with some Psycho and the genre in general:^[16]

• a recognizably human killer, who stands As the psychotic product of a sick phratr
• the victim organism a beautiful and sexually active woman
• the location of the murder being non inside a internal, but within other "terrible place"
• the weapon system being something otherwise a gun
• the assault qualified from the victim's point of view and upcoming with shocking precipitance

She finds that the film actually goes further than Psycho into slasher territory finished introducing a series of female victims, and with Helen Stephens operation as the undimmed and sympathetic final girl.^[16]

Output [edit]

This section necessarily expansion. You can help by adding to it. (November 2017)

Writing [edit]

Film writer Leo First Baron Marks of Broughton based portions of the film on his experience ontogenesis up as the Logos of Benjamin Marks, who owned the Marks & Co book store in London; elements of Peeper is based on his observations of inner-urban center residents who frequented his father's store.^[15] The prostitute, Dora, who is dead in the film's opening scene, was based on a real-life prostitute who was a diarrhoeic patron of the Marks & Colorado book stack away.^[15] Additionally, Simon Marks stated helium was inspired to write a horror story and to become a codebreaker after reading "The Gold-Pester" by North American country author Edgar Allan Poe.^[15] While piece of writing the script, Marks believed the motivations behind Lewis' murder to be entirely sexual, though he would put forward in retrospect that he felt the psychological compulsion of the character was less physiological property than it was unconscious.^[15] Prior to writing the screenplay for Peeping Tom, Marks, a polymath, had worked as cryptographer during World War II.^[15]

Casting and filming [edit]

Cohen originally loved a star to play the steer role and suggested Dirk Bogarde but the Place Organisation, who had him under contract, refused to loan him out. Laurence Harvey was loving for a while but pulled out during pre-production and Powell all over improving casting European nation-Austrian actor Karlheinz Böhm (billed as Carl Boehm).^[2] Böhm, who was a friend of Colin Powell's, noted that their prior acquaintance helped him psychoanalyse and "go into very, selfsame special details" of the character.^[15] Böhm saw Lewis arsenic a sympathetic character, whom He felt "great compassionate" for.^[15] In a 2008 interview, Böhm stated that he could identify with the character because he too stood for a long metre in the vestige of his famous father, conductor Karl Böhm, and had a unenviable human relationship with him.^[17] Böhm also stated that He understood his character reference as beingness traumatized by growing improving under the Nazi Regime.^[18]

Pamela Commons, then a familiar glamour model in London, was cast in the role of Milly, one of Lewis's victims, WHO appears nude onscreen in the moments leading busy her murder scene.^[15] Her appearance marked the first scene in British cinema to characteristic anterior nudity.^{[15] [19]}

Filming took sestet weeks showtime in October 1959.^[20] The cinema was financed by Nat Cohen at Anglo-Amalgamated with other funds from the National Film Finance Corporation.^{[ citation needed ] [21]}

Release [edit]

Peeping Tom was first free in the United Kingdom by Anglo-Amalgamated, premiering in London happening 7 April 1960.^[22] IT is often considered part of a Sadean trilogy with Horrors of the Black Museum (1959) and Circus of Horrors (1960). The three films had different production companies only the aforementioned distributor. They are connected through their themes of voyeurism, deformity, and sadistic figures. Anglo-Amalgamate films were typically discharged in the United States government by American International Pictures through a deal 'tween the two companies. But AIP was not interested in releasing Peeping Gobbler, manifestly questioning of its power to satisfy audiences.^[23]

In the America, the shoot was released by importer and distributor Astor Pictures in 1962. IT was discharged simultaneously to the markets for genre horror films, artwork films, and exploitation films. It failed to line up an consultation and was one of the least successful releases by Astor. The film received a B rating from the National Legion of Decency, signifying "morally objectionable in part" subject. The administration identified voyeurism and sadism as key elements of the film in its valuation.^[24]

Censoring [edit]

When Peeping Tom was first discharged in Italian Republic in 1960 the Committee for the Stagey Review of the Italian Ministry of Cultural Heritage and Activities rated it as VM16: not suitable for children low 16. The reason for the age restriction, cited in the official documents, is: the plot line is shocking and several scenes are not suitable for minors.^{[25] [ better source needed ]} In order for the moving picture to be screened publicly, the Committee imposed the removal of the following scenes: 1) two scenes winning commit in the photographer's studio, in particular, those in which Milly is shown alone, to the full dressed and fractional-unfinished, in front of the mirror because she is indecent; 2) deuce another scenes showing a adult female lying on the bed too half-undressed, because she is indecent.^[25] The legal instrument number is: 32987, it was sign on 21 October 1960 by Minister Renzo Helfer.^[25] It was banned in Finland until 1981.^[26]

Home media [edit out]

Peeping Tom turkey has received various DVD releases. In the Coupled Kingdom, it was released by Studio apartment Canal and Warner Bros., and later in a six-DVD box set which besides includes the films I Cognise Where I'm Going away! and A Canterbury Tale. In 2007, it received a rising DVD release from Optimum Releasing in the United Kingdom, followed by a 50th Anniversary Blu-ray of light unloosen in 2010.^[27]

The take was released in the United States aside The Criterion Appeal on LaserDisc on 23 March 1994^[28] and happening DVD happening 16 November 1999.^[29] The Criterion release of the film has been kayoed of print since at to the lowest degree 2010.^[27]

Reception [edit]

Synchronous [edit out]

Peeper 's depiction of violence and its colorless intimate content made information technology a debatable film on initial release^[30] and the critical backlash heaped on the film was a major factor in finishing Powell's calling as a director in the United Realm.^[31] Karlheinz Böhm later remembered that after the film's premiere, nobody from the audience went to sway the hand of him operating theater Michael Cecil Frank Powell.^[18] A synchronous assessment of the film published in The Telegraph noted that the film effectively "killed" Powell's career.^[4] British reviews tended towards the conic section in negativity, an example being a review published in The Monthly Film Bulletin which likened Powell to the Marquis de Sade.^[32]

Derek Hill, reader of the Tribune suggested that "the only truly satisfactory room to dispose of Voyeur would be to shovel it high and purge it fleetly down the nearest toilet."^[33] Len Mosley writing for the Daily Express same that the film was much nauseating and depressing than the lazar colonies of East Pakistan, the back streets of Bombay, and the gutters of Calcutta.^[34] Caroline Lejeune of The Observer wrote: "It's a yearn time since a film disgusted me A a lot as Peeping Tom," ultimately deeming it a "beastly picture."^[33]

Critical reappraisal [edit]

Peeping Tom earned a cult following in the long time after its initial release, and since the 1970s has received a critical reappraisal. Powell noted ruefully in his autobiography, "I make a film that cipher wants to see and so, thirty years later, everybody has either seen it or wants to see it."^[35] An account of the film's regular reappraisal can be ground in Scorsese on Scorsese, edited by Ian Christie and David Thompson. Martin Scorsese mentions that he first heard of the film As a picture show pupil in the early 1960s, when Peeping Tom opened in only one theatre in Alphabet Urban center, which, Scorsese notes, was a seedy zone of New York. The film was released in a cut black-and-white print but immediately became a fad fascination among Scorsese's generation.^[19] Martin Scorsese states that the film, in this mutilated anatomy, influenced Jim McBride's David Holzman's Diary. Martin Scorsese himself first saw the film in 1970 through a friend who owned an uncut 35mm colour photographic print. In 1978, Scorsese was approached past a New York distributer, Corinth Films, which asked for $5,000 for a wider Re-sackin. Scorsese gladly complied with their request, which allowed the flic to reach a wider hearing than its initial fad following.^[36] Vincent Canby wrote of the motion picture in The New York Times in 1979:

When Michael Powell's Peeping Uncle Tom was originally discharged in England, in 1960, the critics rose up like a bunch of furious Reverend Davidsons to condemn it happening moral grounds. "It stinks," 1 critic wrote. Other thought information technology should be flushed knock down the sewer, and a one-third dismissed it haughtily American Samoa "perverted nonsense." There is nothing angrier than a critic when he can be safely outraged... Peeping Tom 's rediscovery, I care, tells us much about fads in film criticism than it does about art. Only someone madly obsessed with organism the first to hail a new auteur, which is always a nice way of vocation attention to oneself, could spend the time needed to find star in the planetary whole kit and boodle of Mr. Powell.^[37]

Take theorist Laura Mulvey echoed a similar sentiment, writing: "Peeping Gobbler is a motion picture of many layers and masks; its first reviewers were ineffectual even to witness it at par value. Entrenched in the traditions of English Platonism, these early critics saw an immoral film set in real world whose ironic comment on the mechanics of motion-picture show spectatorship and identification befuddled them as viewers. But Voyeur offers realistic medium images that relate to the cinema and nothing more. It creates a magic space for its fiction somewhere between the camera's lens and the projector's light beam of light on the cover."^[38]

Earlier his death in 1990, Powell saw the reputation of Peeping Tom ascending and rise. Contemporarily, the motion picture is considered a chef-d'oeuvre and among the incomparable horror films of all time.^[39] In 2004, the magazine Number Motion-picture show named Peeping Tom the 24th sterling British film of whol time,^[40] and in 2005, the same mag listed it equally the 18th greatest repugnance film of all time.^[41] The film contains the 38th of Bravo Television channel's 100 Scariest Movie Moments.^[42] The Protector named information technology the 10th best horror film of all time in 2010,^[43] and a 2017 review in The Telegraph of the best British films ever made, states, "contemporary critics in 1960 Crataegus laevigata have overlooked that voyeurism was its central report. Just who is the voyeur?"

Film aggregate Tainted Tomatoes has awarded the film a 96% rating, based along 48 reviews and an average score of 8.6/10. The website's consensus is: "Peeping Tom is a chilling, methodical look at the psychology of a killer, and a standard bring off of voyeuristic cinema."^[44]

Cultivation references [edit]

• Mike Patton's band Peeping Tom, and its self-titled album, are named in tribute to this film.^[45]
• Scarlett Thomas makes reference to the film in her 1999 novel In Your Grimace.
• The picture show is referenced by Ghostface in Wes Craven's Scream 4 (2011) every bit being the first film to "put over the interview in the killer's POV."
• During a reminiscence in David Foster Wallace's novel Infinite Jest, Dr. James O. Incandenza, the man World Health Organization went happening to make a film that literally kills its hearing, refers to having "still-posters from Colin Powell's Voyeur" in his childhood bedchamber.^[46]
• A dialogue of the film has been sampled for the first of Railroad Block on the And then Rubbery album (1993) by Saint Etienne.^[47]
• A campaign video for the 2014 take form/summer Alexanders McQueen collection was founded on the opening scene of the film. The video features Kate Moss in the office of the killer's victim.^[48]
• In Halloween Resurrection, Michael Myers uses a high-pitched stop of a tripod to stab Charlie in the throat, just like Mark does in that film.
• Edgar Wright's Last Night in Soho (2021) is heavily glorious, both thematically and in use of goods and services of film language, by the moving-picture show. ^[49]

See likewise [delete]

• BFI Top 100 British films
• List of films featuring surveillance

References [cut]

1. ^ "PEEPING TOM (18)". British people Board of Film Classification. 16 September 1994. Retrieved 31 July 2013.
2. ^ ^{a b} Hamilton 2013, p. 79.
3. ^ Peeping Tom' cuts cost Author: By Daily Chain mail Reporter Day of the month: Tuesday, Nov. 17, 1959 Publication: Daily Mail service (London, England) p7
4. ^ ^{a b c} Gritten, David (27 August 2010). "Michael Cecil Frank Powell's 'Peeping Tom': the film that killed a calling". The Daily Telegraphy . Retrieved 19 July 2018.
5. ^ Forshaw 2012, p. 56.
6. ^ Crouse 2003, p. 167.
7. ^ Eckel 2014, p. 167.
8. ^ Calhoun, Dave; Huddleston, Tom; Jenkins, David; Adams, Derek; Andrew, Geoff; Davies, Adam Lee; Fairclough, Paul; Hammond, Wally (17 February 2007). "The 100 incomparable British films". Time Out London. Break Group. Retrieved 24 Oct 2017.
9. ^ Duguid, Mark. "Peeper (1960)". BFI Screenonline. British Film Institute. Retrieved 19 Butt 2007.
10. ^ Rockoff 2011, p. 29.
11. ^ Ebert, Roger (2 English hawthorn 1999). "Great Movie: Peeping Tom". RogerEbert.com. Ebert Digital LLC. Retrieved 18 September 2006.
12. ^ Herbert George Wells 2000, p. 68.
13. ^ Keough 2005, pp. 219–21.
14. ^ Barr 2002, p. 18.
15. ^ ^{a b c d e f g h i j} Rodley, Chris (dir.) (1997). Peeping Tom (A Very British Psycho Docudrama) (DVD). The Criterion Collection.
16. ^ ^{a b} McNeill 2008, p. 103-108.
17. ^ Maack, Benjamin (14 March 2008). "Filmlegende Karlheinz Böhm". Der Spiegel.
18. ^ ^{a b} "Karlheinz Böhm im Interview: "Ich finde es deprimierend, dass man in den Zeitungen nur noch über Afrika liest, wenn wieder eine Dürrekatastrophe ausbricht."".
19. ^ ^{a b} Meehan 2010, p. 191.
20. ^ Hamilton 2013, p. 80.
21. ^ Heffernan, Kevin (2014). Horror Films in the Context of Distribution and Exhibition. A Companion to the Horror Film.
22. ^ Purath 2002, p. 2.
23. ^ Heffernan 2004, pp. 128–31.
24. ^ Heffernan 2004, pp. 114-15.
25. ^ ^{a b c} "Italia Taglia". Commission of Theatrical Brushup (in Italian). Ministry of Cultural Heritage and Activities and Tourism. Retrieved 19 July 2018.
26. ^ "Peeping Tom (1960)". Elonet (in Finnish). Status Teaching aid Institute. Retrieved 19 July 2018.
27. ^ ^{a b} Brunsting, Joshua (1 November 2010). "Optimal Home Entertainment to Release Peeping Tom Blu-ray for 50th Anniversary in the United Kingdom". Criterion Cast . Retrieved 21 November 2017.
28. ^ "Peeping Tom: Special Edition #156 (1960) [CC1299L]". LaserDisc Database. Retrieved 25 September 2018.
29. ^ Peeping Tom (The Criterion Collection). ISBN0780022629.
30. ^ "Peeping Tom". Cause Studies. British Board of Film Classification. Archived from the original connected 26 October 2014. Retrieved 9 November 2015.
31. ^ Crook, Steve (Jan 2006). "The Killer Reviews". The Powell & Pressburger Pages . Retrieved 28 December 2016.
32. ^ Hamilton 2013, p. 83.
33. ^ ^{a b} Feaster, Genus Felicia. "Peeping Tom". Turner Classic Movies. Spotlight. WarnerMedia. Archived from the original on 14 March 2017. Retrieved 23 Dec 2016.
34. ^ Keough 2005, pp. 219–21.
35. ^ Nordine, Michael (18 January 2013). "5 Notoriously Terrible Films That Actually Aren't So Terrible". LA Weekly . Retrieved 22 November 2017.
36. ^ Higgins, Charlotte (9 November 2010). "Steve Martin Scorsese restores Brits masterpiece". The Guardian. Guardian News show and Media. Retrieved 22 November 2017.
37. ^ Canby, Vincent (14 October 1979). "Film: Michael Colin Powell's 'Peeping Tom'". The Newfangled York Times. Archived from the original on 16 December 2013. Retrieved 22 November 2017.
38. ^ Mulvey, Laura (15 November 1999). "Peeping Tom". The Current. The Criterion Collection. Retrieved 22 November 2017.
39. ^ "The 75 best Island films ever made". The Daily Telegraph. 5 October 2017. Retrieved 22 November 2017.
40. ^ "Total Flic's 50 Superior British people Movies Ever". Retrieved 11 December 2009.
41. ^ Graham, Jaimie (10 October 2005). "Shock Horror! Total Cinema With pride Hails The 50 Superior Horror Movies of All Time". GamesRadar+. Future Publishing. Retrieved 5 Dec 2013.
42. ^ "The 100 Scariest Movie Moments". Bravo. Archived from the original on 13 July 2006. Retrieved 29 June 2006.
43. ^ Fox, Killian (22 Oct 2010). "Peeping Tom: No more. 10 best revulsion take of each time". The Guardian. Guardian News and Media. Retrieved 22 November 2017.
44. ^ "Peeping Tom (1960)". Rotten Tomatoes. Fandango Media. Retrieved 27 Feb 2012.
45. ^ Deline, Chris (1 June 2006). "Interview with Mike Patton". Culture Bully. Archived from the freehanded on 13 February 2011. Retrieved 31 July 2007.
46. ^ Wallace 1996, p. 502.
47. ^ Homer Thompson, Paul. "Saint Etienne Samples". British 60s cinema . Retrieved 19 July 2018.
48. ^ Pieri, Kerry (21 January 2014). "Take care Kate Moss' Surreal McQueen Skirt". Harper's Bazaar.
49. ^ "Last Night in Soho explores the toxic side of nostalgia".

Works cited [edit]

• Barr, Charles (2002). Giddiness. BFI Moving picture Classics. London: British Film Bring. ISBN9780851709185.
• Crouse, Richard (26 August 2003). The 100 Best Movies You've Ne'er Seen. Toronto: ECW Press. ISBN9781554905409.
• Eckel, Mark D. (2014). When the Lights Go Down. Bloomington: WestBow Press. ISBN9781490854175.
• Forshaw, Barry (2012). British Crime Film: Subverting the Multi-ethnic Rules of order. British capital: Palgrave Macmillan. ISBN9781137184979.
• Hamilton, John (2013). X-Cert: The Brits Independent Horror Motion-picture show 1951-70. Parkville: Midnight Marquee Press. ISBN9781936168408.
• Heffernan, Kevin (2004). "Grind House operating theatre Artistic creation House? Astor Pictures and Peeping Tom". Ghouls, Gimmicks, and Gold: Horror Films and the American Movie Business, 1953–1968. Durham: Duke University Press. ISBN9780822332152.
• Keough, Peter (2005). "Peeping Tom (1960)". In Bernard, Jami (ed.). The X-List: The National Social club of Pic Critics' Guide to the Movies that Good turn Us Connected. Bean Town: Da Capo Press. ISBN9780786738052.
• McNeill, Isabelle (2008). "Peeping Turkey cock (1960)". In Barrow, Sarah; Ovalbumin, John (eds.). Fifty Key British Films. Abingdon: Routledge. ISBN9781134081233.
• Meehan, Apostle Paul (2010). Repugnance Noir: Where Cinema's Dreary Sisters Meet. Jefferson: McFarland & Co. ISBN9780786462193.
• Purath, Anna (2002). Peeping Tom (Michael Powell, 1959) (Dissertation) (in German). Berlin: Free University of Berlin. ISBN9783638143387.
• Rockoff, Robert Adam (2011). Going to Pieces: The Ascent and Fall of the Slasher Celluloid, 1978-1986. Jefferson: McFarland &ere; CO. ISBN9780786469321.
• Wallace, Jacques Louis David Foster (1996). Infinite Jest (1st ed.). Capital of Massachusetts: Little, Brown and Company. ISBN9780748130986.
• Wells, Paul (2000). "Consensus and Constraint 1919-1960". The Horror Genre: From Beelzebub to Blair Hag. New York: Cheiranthus cheiri Press. ISBN9781903364000.

Advance reading [edit]

• Christie, Ian (1994). Arrows of Desire: the films of Michael Powell] and Emeric Pressburger . London: Faber & Faber. ISBN9780571162710.
• Marks, Lion (1998). Peeping Tom turkey. Faber Classic Screenplay Series. London: Faber & Faber. ISBN9780571194032.
• Powell, Michael (1986). A Animation in Movies: An Autobiography. London: Heinemann. ISBN9780434599455.
• Powell, Michael (1992). Million Dollar Movie. London: Heinemann. ISBN9780434599479.
• Zimmer, Catherine (2004). ""The Photographic camera's Eye: Peeping Tom and Technological Perversion". In Hantke, Steffen (male erecticle dysfunction.). Horror Shoot: Creating and Selling Fear. Oxford: University of Mississippi Press. ISBN9781578066926.

External golf links [blue-pencil]

• Peeping Tom at IMDb
• Peeping Gobbler at the TCM Movie Database
• Voyeur at the BFI's Screenonline. Full synopsis and film stills (and clips viewable from Britain libraries).
• Reviews and articles at Powell & Pressburger Pages.
• Scorsese interview talking astir Michael Colin luther Powell and Voyeur
• The Single-handed article 18 June 2010, 50th day of remembrance classics feature article
• Peeping Tom in The Numbers game

Where Did the Term Peeping Tom Come From

Source: https://en.wikipedia.org/wiki/Peeping_Tom_(1960_film)

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