This thesis aims at bringing a philosophical perspective on Alfred Hitchcock's cinematographic work. More specifically, we intend to consider the aesthetic and narrative phenomenons in order to value the moral relevance of his films. To do this, we suggest a four stage work : firstly, one needs to take the time to strengthen the theoretical basis of the exegesis. The first part strives to introduce the main elements to for a proper study of his work, its context of production and its most relevant features. After this non exhaustive glance, we'll address the conceptual and theoretical contribution of the critics in the filiation whose approach we share. The politics of Hitchcock's rehabilitation by the Cahiers du cinéma still bears fruits today, despite the necessity to exceed their spiritualist approach. Therefore, this thesis claims the inheritance while calling upon different critics, likes William Drummin or Robin Wood. The second moment investigates Hitchcock's diegesis in order to analyse as correctly as possible the features of this fictional universe created through the fifty or so films of the corpus. What emerges from this study is the idea of a latent pessimism which shows itself through an ambivalent contingency, a fatality threat, ambiguity of the happy endings and an almost generalized criticism of the institutions. The character's presentation is not happier inasmuch as the traditional antagonism villains / good people is corrupted by a lack of heroism from the protagonists and a recurrent sympathy from the villains, the mise en scène of which leads to an unconventional connection with the spectator. The third part tries to exceed this widespread anxiety by showing that the protagonists' personal resources, associated with their (sometimes traumatizing) encounters with the world leads them to make a certain ethics of human relationships possible. The pair engagement / devotion is at the centre of this development and allows us to point up the possibility of an evolution of the characters: from an initial amorality resulting from a general hostility and a primary egoism, they can pretend to become real heroes, bringing or exemplifying values and virtues linked to altruism and acceptance of the world. The last step offers a study of the reception of the films; the aim is to understand the spectatorship's position. To do this, we analyse the processes leading to the sharing of the experiences, in order to reach the concept of “vicariality”, which seems the most suitable to describe the strong implication and the self-consciousness resulting from the hitchcockian aesthetics. The final moment is centred on the constitution of the moral judgement of the spectator and on the contribution of Hitchcock's work on the moral life of the spectators.
