The expatriate eye is an outsider's gaze. Usually this means London from the outside looking in, as in The Servant, Repulsion, Bunny Lake, The Deadly Affair, Blow-Up, A Clockwork Orange and Moonlighting. The 1960s was the seminal decade, and 1960s London is now mythical in its status as a cultural magnet for the shock of the new in music, theatre, art, fashion, scandal – and cinema. Classical Hollywood joined in, dashing across the pond and modifying the old rules in the Old World: not only Otto Preminger, but Martin Ritt, Sidney Lumet, William Wyler, Stanley Donen, Joseph Mankiewicz, Stanley Kubrick, Sam Peckinpah and the returning Hitchcock, all making their ‘British’ movies. With the studios seeking to breathe new life into their projects, the Hollywood invasion pushed at the weakening boundaries of censorship and classical narration with freer visual styles, more location shooting and more explicit content. The results were mixed, for the most part neoclassical. At the same time this was the start of a new cinema in the UK, a neo-modern remake of 1920s modernism for the sound era: 1963 with the release of The Servant was as momentous as 1929, and the expatriate eye was an integral part of modernism's second wave, the aesthetic dominant in the rise of the British neo-modern an aesthetic which we shall call, more precisely, the aesthetics of the parallax view.