Sir Alfred Joseph Hitchcock will forever be known in the annals of film history as the “Master of Suspense.” His illustrious career as a film director spanned over sixty years, 55 years to be exact. Over the years he has left theater audiences gripping their seats in anguish and perplexed by his thrillers. Hitchcock's works have stood the test of time and left today's audiences in awe of his techniques, which remain relevant in Hollywood and film schools today. Hitchcock directed 66 films in his career, but this essay will examine three that I believe emphatically represent the style and themes used by the great man they call “Hitch”. Most of these themes are intertwined with Hitchcock's stylistic choices in the three films I have selected. This essay will cover a number of them, from the theme of the audience as voyeur and how Hitchcock is able to achieve this through the use of the camera, to the use of birds as a recurring theme and motif both through the plot and through the use of misery . on stage. Another concept created by Hitchcock that I will cover in this essay includes the infamous “MacGuffin” plot device, the use of the character in his films; particularly Hitchcock's cameos in his films. The films I will discuss in this essay are Rear Window (1954), Psycho (1960), and The Birds (1963). It is no secret that with the nickname "The Master of Suspense" is the characteristic technique of Alfred Hitchcock's films would be his ability to arouse excruciating emotions of tension in his audience. It is by far his most important and effective stylistic choice and is present in all three films I have selected for this essay. Hitchcock best described his charm... middle of paper... ock may no longer be here with us, but his presence will transcend his physical being and continue forever through cinema. Works Cited Braudy, L 1968, 'Hitchcock, Truffaut and the Irresponsible Audience', Film Quarterly, vol. 21, no. 4, pp. 21-27Galya Kay 2014. A Study of Suspense: Film Narrative, Galyakay, last accessed 29 May 2014, < http://www.galyakay.com/filmnarrative.html>Howe, L 2008, 'Through the Looking Glass: reflexivity, reciprocity and defenestration in Hitchcock's “Rear Window,” College Literature, vol. 35, no. 1, pp. 16-37Rizzo, M 2005, The Art Direction Handbook for Film, Taylor & FrancisSmuts, A 2008, 'The Desire-Frustration Theory of Suspense', The Journal of Aesthetics and Art Criticism, vol. 66, n. 3, pp. 281-290Toles, GE 1989, 'Alfred Hitchcock's Rear Window as critical allegory', Border 2, vol. 16, no. 2/3, pages. 225-245