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About Margo60

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  • Birthday August 22

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    Milwaukee, WI
  • Interests
    Art, film, writing, military history.

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  1. A big "Thank You" to all students of this fantastic class, TCM, and Professor Edwards. I learned so much more about Hitchcock, and watched most of his films. There is always something more to understand about the vulnerability, strengths, and fears within human nature, art, society, cinematography, music, sound/visual effects that Hitchcock left as his legacy. Culturally influential, and timeless. This was his final cameo. My selection of modern day films similar to "Rear Window": Body Double, 1984 Brian DePalma Blue Velvet, 1986 David Lynch Peeping Tom, 1960 Michael Powell
  2. 1. Describe how this opening is different from the multiple opening scenes you have seen in the Daily Doses from the British silent and/or sound period? This scene is not a public space full of people. The viewer is immediately drawn into the opening scene by the narration and the movement of the camera with a smoky darkness of an isolated location - dreamlike in its presentation. The speed of the camera slower at the beginning, and moves along rapidly in anticipation of where the next scene will lead. We wonder who lives there and what memories may have existed. Is there some tragedy or darkness beneath the walls of this grand Gothic house? We then see two characters surface and what is the relation between them, and what may have occurred there. When we dream, we remember events that have happened but then we wake up with just a memory. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? In this film as in others, you see his signature style in visual storytelling techniques, camera movement, lighting, and voyeuristic perspective. The dark effects in lighting to create mood, mystery, and a sense of uneasiness. 3. How does this opening sequence use Manderley--the house itself--as a kind of character in the story? It gives the viewer an invitation to enter the dream of a place that had a history and of great importance to the characters in the story. We can only enter from the outside and get a voyeuristic view of darkness, emptiness, loneliness, and leaves a mysterious feeling of what brought them there in the first place. It leaves us an uneasy feeling that there may have been some unhappiness or tragedy there.
  3. Just ran across a list of all Alfred Hitchcock silent films through his earlier years which many are lost for those interested: (Posted here in error; hopefully interesting information)
  4. Looking forward to this evenings Hitchcock Friday film lineup!

  5. 1. Yes, much of the beginnings of his personal signature is shown in this film with his use of lighting, camera motion and focus on character, setting placement, aspects of dark comedy/sexual comedy without sex. 2. Hitchcock uses very similar techniques from German Expressionism, film noir, and variety of settings focusing on average people finding themselves in peculiar situations that most people can relate to. 3. I felt that Hitchcock captures and connects the viewer visually with the energy of he dancing ladies running down the staircase, and the delightful expressions between the men and women creating a sense of humor, and a preclude to what to expect moving forward. Spoken word isn't needed as the camera focuses directly on the audience and characters, and places one in that particular moment in time.
  6. This is the first clip I've seen of "Laura" and can't wait to see this film. The viewer is drawn in by the objects of the room on the wall, the clock, as is the detective not knowing he is in Waldo's view the entire time through the open door by the voice over creating a sense of sophistication and mystery. It opens the question of who is Waldo? He is a man who may obsess over possessions, artifacts, and detail. The feel of the room is avante-garde with a chiaroscuro atmosphere. One could get the feeling of a man who is isolated, futile, and possibly anxious, and over obsesses with writing down details in the bathtub scene. These are existential common themes in crime film noir. We know he is a writer, and a key suspect in the murder of "Laura". We get to know that Mark McPherson is a no nonsense hard-boiled detective, responding with a sense of ironic wit to Waldo's eccentric behavior in the bathtub scene. Waldo's need to be in control at all times stemming from guilt or insecurity? This film has all the aspects of mystery, criminal psychology, existential theme, character complexity, and visual detail.
  7. Film Noir fan from the Midwest in Milwaukee, WI.

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