Redressing the deficit of sustained critical attention paid to Hitchcock's Shadow of a Doubt (1943), Diane Negra here analyses its narrative system, issues of genre, authorship and social history, homesickness and 'family values', and shows how its structure is wedded to radical ideological content, situating Shadow as an unconventionally female-centred Hitchcock text.Shadow of a Doubt (1943) was British-born Alfred Hitchcock's fifth American film and the one that he at various times identified as his favourite and his best. It seems likely that one of the reasons he liked Shadow so much is that is an extraordinarily well-ordered narrative system, a meticulous cause and effect chain that melds its various scenes and sequences together to form a unified narrative that is highly effective in building suspense and cultivating identification with characters. This scrupulously organized film operates as a masterclass on principles of narrative design while generating resonant commentary on the nature of family life.