Academy of the Arabic Language is the name of a number of language-regulation bodies formed in the Arab League. The most active are in Damascus and Cairo. They review language development, monitor new words and approve inclusion of new words into their published standard dictionaries. They also publish old and historical Arabic manuscripts.
Hitchcock returned to the UK for an extended visit in late 1943 and early 1944. While there he made two short films in French for the British Ministry of Information: Bon Voyage and Aventure Malgache. The two British propaganda films made for the Free French were the only films that Hitchcock made in the French language, and they "feature typical Hitchcockian touches". On his motivation for making the films, Hitchcock stated: "I felt the need to make a little contribution to the war effort, and I was both overweight and over-age for military service. I knew that if I did nothing, I'd regret it for the rest of my life." From late June to late July 1945, Hitchcock served as "treatment advisor" on a Holocaust documentary which used footage provided by the Allied Forces. It was produced by Sidney Bernstein of the British Ministry of Information, and was assembled in London. Bernstein brought his future 194849 production partner Hitchcock on board as a consultant for the film editing process for the British Ministry of Information and the American Office of War Information.
The film-makers were commissioned to provide irrefutable evidence of the Nazis' crimes, and the film recorded the liberation of Nazi concentration camps. The film was originally intended to be broadcast to the Germans following World War II, but the British government deemed it too traumatic to be shown to the already-shocked post-War population. Instead, it was transferred in 1952 from the British War Office film vaults to London's Imperial War Museum and remained unreleased until 1985, when an edited version was first broadcast in May 1985 as an episode of the PBS network series Frontline under the title which the Imperial War Museum had given it: Memory of the Camps. The full-length version of the film German Concentration Camps Factual Survey was completed in 2014, and was restored by film scholars at the Imperial War Museum.
Hitchcock's films sometimes feature characters struggling in their relationships with their mothers. In North by Northwest (1959), Roger Thornhill (Cary Grant) is an innocent man ridiculed by his mother for insisting that shadowy, murderous men are after him. In The Birds (1963), the Rod Taylor character, an innocent man, finds his world under attack by vicious birds, and struggles to free himself from a clinging mother (Jessica Tandy). The killer in Frenzy (1972) has a loathing of women but idolises his mother. The villain Bruno in Strangers on a Train hates his father, but has an incredibly close relationship with his mother (played by Marion Lorne). Sebastian (Claude Rains) in Notorious has a clearly conflictual relationship with his mother, who is (correctly) suspicious of his new bride Alicia Huberman (Ingrid Bergman). Norman Bates has troubles with his mother in Psycho.
Hitchcock heroines tend to be blondes. The famous victims in The Lodger are all blondes. In The 39 Steps, Hitchcock's glamorous blonde star, Madeleine Carroll, is put in handcuffs. In Marnie (1964), the title character (played by Tippi Hedren) is a thief. In To Catch a Thief (1955), Francie (Grace Kelly) offers to help a man she believes is a burglar. In Rear Window, Lisa (Grace Kelly again) risks her life by breaking into Lars Thorwald's apartment. The best-known example is in Psycho where Janet Leigh's unfortunate character steals $40,000 and is murdered by a reclusive psychopath. Hitchcock's last blonde heroine was Barbara Harris as a phony psychic turned amateur sleuth in Family Plot (1976), his final film. In the same film, the diamond smuggler played by Karen Black could also fit that role, as she wears a long blonde wig in various scenes and becomes increasingly uncomfortable about her line of work. The English 'Hitchcock blonde' was based on his preference for the heroines to have an "indirect" sex appeal of English women, ladylike in public, but whores in the bedroom, with Hitchcock stating to Truffaut:
I think the most interesting women, sexually, are the English women. I feel that the English women, the Swedes, the northern Germans and Scandinavians are a great deal more exciting than the Latin, the Italian and the French women. Sex should not be advertised. An English girl, looking like a schoolteacher, is apt to get into a cab with you and, to your surprise, she'll probably pull a man's pants open. ... Without the element of surprise the scenes become meaningless. There's no possibility to discover sex.