Dr. Rich Edwards

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About Dr. Rich Edwards

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  • Location
    Ball State University
  • Interests
    Film Noir

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  1. Thanks for the kind words about the course design - I definitely am always interested in talking with my colleagues at other universities, so email me through my Canvas inbox, if you wanted to have a quick conversation. Best, Dr. Rich Edwards
  2. Hi #Hitchcock50 Students: We continue our final reflections on 50 Years of Hitchcock with a twist today. I want you to engage in some speculative thinking. Based on what you learned about Hitchcock's collaborators in this class, who do you think Hitchcock would reach out to today to collaborate with him or her, if Hitch were making new films in 2017? In other words, who would be his new Bernard Herrmann? Who would be his new Edith Head? What contemporary writer would Hitchcock have loved to collaborate with? Be creative! Hope you enjoy this assignment!
  3. I want to open this up as a discussion in the spirit of a Daily Dose. Let's start to compile a list of all the films and TV shows/episodes that have been inspired by Hitchcock. The film or TV show could be a remake, an homage, an example of a Hitchcock story--I am willing to entertain a fairly robust definition of this discussion. But my goal is to see how many films and TV shows this community can name that can be traced, in some form or another, back to Alfred Hitchcock as the creative spark. Please try to read others' posts and contribute new titles to the discussion. Thanks! Let's see how big a list we can create in a couple of days to show the enormous impact Hitchcock has had on cinematic and televisual storytelling! Prof. Edwards
  4. What happened to flexibility?

    I understand, and I apologize in advance. I know that last minute changes and last postings can affect everyone's schedules, and I do everything in my power to make sure everything gets posted in a timely manner. I also do my best to properly communicate any changes that are coming via messages in Canvas. Once something posts, including the lecture notes and the quizzes, they remain open and available until the last day of the course. So there should be ample time to complete any of the material that posts late. Thanks for understanding! Best, Prof. Edwards
  5. Hi #Hitchcock50 Students, Prof. Edwards will be interviewing Alexandre Philippe live on the web via Shindig on August 1, 2017 at 1pm Eastern / 10am Pacific. We will devote some time to answering your mail bag questions - so post your questions here and we will pick a handful to answer during our live session! Shindig is a new web video website and you can get your link to our live conversation by RSVP'ing here: https://gateway.shindig.com/event/bsu-hitchcock If you can't make the live web broadcast, we will post the video through a link in Canvas for everyone to watch at a later time! You do not have to be RSVP'd to ask a question - so ask away! Happy to try to answer any/all Hitchcock related questions!! See you next Tuesday, August 1!
  6. Today's Daily Dose is from Hitchcock's 1972 film, Frenzy. Head over to the Canvas course to watch the clip, and then come back here to discuss. As usual, here are three questions to get the message board rolling-- 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to rewatch the clip from The Lodger (Daily Dose #2) for comparison. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. 3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed over the course of opening scenes spanning Hitchcock's 50 year career.
  7. Today's Daily Dose is the opening scene from Marnie. Go over to the Canvas course to watch the clip, and then come back here to discuss. Here are three starter questions: Based on the opening sequence alone, what do you feel you already know about Marnie as a character? In what ways does Hitchcock visually reveal her character through her interaction with objects. How does Hitchcock use Bernard Herrmann's score in this scene? Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means?
  8. Today's Daily Dose is the opening scene from The Birds. Watch the scene over at Canvas and then come back here and discuss. Here are three questions to get everyone started: 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) through their interactions in this scene? 2. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere? 3. The opening scene contains a famous Hitchcock cameo. Describe the cameo and if you think it has any particular meaning in relation to this scene.
  9. Experience of live tweeting

    I totally get where you are coming from. Live tweeting isn't for everyone. And there are different live tweeting practices. As an instructor of a rather sizable Hitchcock course, I am consciously attempting to be different from other uses and I use it in a more instructional sense. Since I am teaching a class on Hitchcock, I find it useful to show you how I am "reading" the films and show what is catching my eye in real/reel time - but of course, that takes a lot of preparation and I have images ready to tweet for most of the points I want to make - My live tweets in that sense should be read more as a scholarly commentary than an attempt to make the film "fun" or my attempt to engage with others who might just want to share their reactions or feelings about a cinematic moment. Though I have absolutely no issues with any of the other usages and practices--that is not my point here--I am just trying to express what I am seeking to accomplish by live tweeting. That said, if it is your first time watching a film, then I do think my kind of live tweeting is distracting and takes away from the movie -- what to watch? The film? The live stream? Add your own comment? What did that character just say-- you get my point. When I participate in a live tweet about a film, I tend to watch the film in advance so that the live tweet is at least my second engagement with the film. With REAR WINDOW, for example, it was at least my 20th viewing - that way if I get sidetracked in a twitter conversation, I've already seen the movie. Finally, all my live tweets can be read or perused after the film or really any time at all -- so don't hesitate to review what I tweeted as I point out things about each of those films that you might find of use. Hope this helps. Best, Prof. Edwards
  10. This week finds us entering Hitchcock's Universal Years. The first film up: Psycho. We are starting with the film's iconic title design sequence and the very first scene of the film. Head over to Canvas to watch the clip, and then come back here and discuss. Here are three topics to get the conversations started: 1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? 2. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What is Hitchcock seeking to establish with such specificity? Also, why do you think Hitchcock elects to enter the hotel room through the semi-closed blinds from the outside? Does the meaning of this shot remind of any other Daily Doses (and/or films) we have watched in the 1940s or 1950s? 3. In the remainder of this sequence, we are introduced to Marion Crane (Janet Leigh) and Sam Loomis (John Gavin). The scene pushed the boundaries of censorship, especially considering our last Daily Dose for North by Northwest was edited for a line of risqué dialogue. Since this is the opening scene of Psycho, how does the hotel room scene function as a way to establish Marion Crane as a main character? Defend your answer.
  11. When does a game end?

    We do our best to make these games work on as many devices as possible, and in as many ways as possible such as inside the Canvas app, on a web browser, etc. But if you email me inside the Canvas App, I can send your info to my game developer and see if we can get your problem resolved. When you email, please tell us device (smartphone, tablet, or computer), app or browser (and if browser, which one) - one tip is that the games work best inside the Canvas mobile app or on computers/tablets/laptops inside Google's Chrome browser. Thanks, Prof. Edwards
  12. Lecture Video Part 5

    Thanks! My editor Henry is always looking for clips to end these videos - and that one fit well and was funny too! I particular liked his use of Hitchcock explaining the crop duster scene in the North by Northwest lecture video. But thanks for the shout out! I'll share it with Henry. Best, Prof. Edwards
  13. Week 6 Fan Panels.

    Hi Rejana, It's not an assignment. It is an opportunity. I am looking for proposals for additional Hitchcock topics that students in the class will present in the last week of class. We have many Hitchcock experts, film scholars, professors, teachers, writers, industry professionals, etc. participating in this course, and I am interested in having students with knowledge of a unique Hitchcock topic to present to the entire class in the last week. Hope that helps clarify what I mean by fan panels. This is not like a regular student paper or assignment, so there is nothing to write if you don't want to present to the entire class. And even if you submit an idea, there is no guarantee you will be selected to present. Only 3 students in the entire class will be selected to be on the fan panel. Put another way, with so many Hitchcock experts connected this course, this is a chance to hear more voices beyond Dr. Gehring and myself. Best, Prof. Edwards
  14. Hitchcock Lecture Videos

    I originally posted this under Daily Dose #16, but it fits much better here in this discussion - and besides, I want to keep telling people that my student Henry Tegeler is doing an amazing job on the post-production of the lecture videos. I'm very lucky to have him. Thanks so much! As I've been sharing on Twitter at #Hitchcock50, I am working more and more with a student crew that stays with me for a long time (I've been working with editor Henry since last summer - so like Hitchcock, I'm a fan of stable production crews and keeping talented folks around me!!) What I love about working with students is that in production conferences they are eager to take on new challenges, and this week of Alfred Hitchcock, Bernard Herrmann, and Saul Bass inspired Henry to do these amazing intros - he also does an homage to the Vertigo title design in the Wednesday lecture video. Another thing that is happening is that this is my third TCM course. So like making a third genre film, the third time around allows me to play with a limited number of conventions and elements. This time I am able to explore yet another way to deliver video content. In Film Noir, we shot a single talking head lecture in a classic movies theater, then last year, I was on the TNT Sport Soundstage with Vince Cellini as my partner to use a telestrator for Breakdown of a Gag, and this year for Hitchcock, I really liked the idea of a simple conversation on a plain soundstage between two film scholars and to use lots of B-roll to illustrate our points. I cannot thank Wes Gehring enough for his willingness to be a part of this project--he is truly a marvelous collaborator and a great film scholar to boot! Hope you are enjoying the course! PS, it takes a village to create the materials for this course. I always need to give a BIG SHOUT OUT to my many fine collaborators at TCM, Canvas, and Ball State. This course would be impossible with the hours and hours of work that goes on behind the scenes to put up these modules, create these games, and coordinate all these activities. Best, Rich
  15. Thanks so much! As I've been sharing on Twitter at #Hitchcock50, I am working more and more with a student crew that stays with me for a long time (I've been working with editor Henry since last summer - so like Hitchcock, I'm a fan of stable production crews and keeping talented folks around me!!) What I love about working with students is that in production conferences they are eager to take on new challenges, and this week of Alfred Hitchcock, Bernard Herrmann, and Saul Bass inspired Henry to do these amazing intros - he also does an homage to the Vertigo title design in the Wednesday lecture video. Another thing that is happening is that this is my third TCM course. So like making a third genre film, the third time around allows me to play with a limited number of conventions and elements. This time I am able to explore yet another way to deliver video content. In Film Noir, we shot a single talking head lecture in a classic movies theater, then last year, I was on the TNT Sport Soundstage with Vince Cellini as my partner to use a telestrator for Breakdown of a Gag, and this year for Hitchcock, I really liked the idea of a simple conversation on a plain soundstage between two film scholars and to use lots of B-roll to illustrate our points. I cannot thank Wes Gehring enough for his willingness to be a part of this project--he is truly a marvelous collaborator and a great film scholar to boot! Hope you are enjoying the course! PS, it takes a village to create the materials for this course. I always need to give a BIG SHOUT OUT to my many fine collaborators at TCM, Canvas, and Ball State. This course would be impossible with the hours and hours of work that goes on behind the scenes to put up these modules, create these games, and coordinate all these activities. Best, Rich

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