Mandroid51

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  1. Just wanted to say thanks to Dr. Edwards for a stellar course! Best yet! Looking forward to receiving the certificate. All the best to all my classmates young and old. Alfred Hitchcock not only bridged art and commercial filmmaking combining brilliance experimentally, innovatively, technically, and the best showmanship the silver screen would allow. He also bridged any gaps between age groups through his lens and collaborators. Cheers Hitch! http://www.imdb.com/name/nm0000033/
  2. I'd say any show in the vein of Alfred Hitchcock Presents. I.E. Amazing Stories, Twighlightt Zone, the Hitchhiker series. There's two movies that are clearly homages/remakes: Psycho by Gus Van Sant, and Jeff Bleckner's Rear Window remake starring Christopher Reeve, and Daryl Hannah Just about anything from Brian DePalma or Dario Argento in the 70's Oh and Martin Scorsese's Cape Fear (also a remake but in the tradition of Hitchcock bigtime!)
  3. I don't wish to even try and place my finger on the Edith Head or Bernard Hermann's of today, but I liked some of what I read from others including Sharon Stone as a blond femme fatale or otherwise. Also liked someone saying David Lynch. It doesn't limit the selection in terms of just direction which obviously would fall on Hitch himself, but Lynch is a highly skilled and inventive sound designer. In my opinion his integration of sounds and music is top of the heap. I'd also be interested to see how Hitch would adapt to the CG of today but it's allot of speculation to throw good crafts people in such places unless you are simply looking at the highest paid crafts folk already working in the biz. It's pretty much a grab the best like Spielberg has successfully done for decades now.
  4. Hello Alexandre Phillipe. Hello again Dr. Edwards! I just wanted to ask what was the biggest draw or motivation for making 78/52? As a filmmaker this interests me very much. I know all too well of the challenges filmmakers face so congrats on it's completion and thank you for being a part of this massive online course. Continued success! Sincerely, David
  5. Really good observations ????????
  6. 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. Frenzy feels larger and more grandiose with the expansive shot from helicopter and crane swooping in on a public event. Frenzy was in colour and had sound (late twenties versus 70's) The Lodger presents more foggy images of cityscape and in b&w with a Scream as opposed to bystander declaring "look!" And then we see a floater. I've only seen Frenzy broken up so will watch again for more modern take on Hitch's horror in London, England 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. Hitch cameo, a murder theme, intricate visual set-up. Large crowd in an opening very Hitch touch. 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. I'd say the biggest pattern emerging over the fifty year span was his attempt to bring people in to common people stories even though there is also murder themes wrapped within the everyday environments. He seemed to like to blend public and private so well. The juxtaposing of people and public atmosphere with the more intimate stories of regular character in extraordinary situations...
  7. I think your analysis is just as good as any experts. I would agree with the Vertigo analogy as well. I think of 'Taxi Driver' as well or 'It's Alive' with Hermann's scores and specifically the use of harp. It's speaks to make belief more than other instruments like the piano or violin perhaps because Disney and many similar fantastical stories have had similar scores. The biggest draw for me subjectively speaking is these characters might be living in their heads more when I hear those particular scores. Then again the mysterious nature also plays into fantasy equally in my humble opinion.
  8. Don't forget 'Dial M for Murder' I believe Hitch has cryptically over the span of his career left more clear meanings in his interviews however indirectly almost like clues if not directly. I'd say the only time it is most obvious is when the auteur says so directly whatever the topic. Sometimes they dropped their guard perhaps the ego getting the better of them...
  9. 1. 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. Marnie is an imposter or holds a double life. She could be a thief and is actually blond. The objects also suggest she's travelling, possibly escaping... 2. How does Hitchcock use Bernard Herrmann's score in this scene? It sounded like it was make belief with the raising and lowering of harp strings and the music seemed to come in and out like breathing. I get the impression he wanted to convey artifice and imagination or the use of one's imagination. 3. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means? Hitch's cameo no longer subtle, and he is actually more engaging like his tv personality. Never saw Marnie yet so look forward to it!
  10. It does seem creepy in that context but I recall a story that Hitch was in on an inside joke about a commercial that Tippi was in where they whistled at her. I think Hitch was playing with that as a side note perhaps he's playing to a younger audience as opposed to strong sexual undertones. Experts can correct me if I'm wrong.
  11. 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) in this scene? It seems more like a romantic comedy because other than the foreshadowing of the hovering mass of birds in the sky Tippi flirtingly doubles as the pet store attendant and proceeds to be knowledgable of birds. She's playing an imposter in order to flirt and toy with Rod Taylor who we learn about looking for "love birds" in all the right places. You'd never know doom or apocalyptic themes were to take place even the music is light and suggestive of familiar romantic comedies. Correction: so light is the music it's not even there my bad 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? I'll need more time to study the sounds so early in the film especially since Hitch will really lay it on in later scenes. I'd say the pet store with the layering of bird sounds are meant to emerse us in this world first as an audience that is safe and the dominant species then only later to be the prey (dominated) or victims of the natural world in unnatural circumstances. True chaos... FYI: I've seen the birds as much as Psycho and they strike me as his more horror-like genre. I like how he describes the "nightmare" that is 'North By Northwest' also, RIP Martin Landau so glad I could tell you how much of a legend I thought you were... 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. Playful cameo. Very memorable and fitting for using his own dogs. I think it's a bit ironic he's walking dogs as though he's giving us a clue that they are possibly more subservient species than the unruly birds but I could be stretching that theory also
  12. 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? The titles and music introduces horizontal movement and vertical movement it resembles volume bars or a heart rate monitor in appearance. The white horizontal lines layered over one another move quickly in racing/stabbing like motion either left or right or both. Usually they meet in the centre and break away etc. It communicates intensity along with the strings which I challenge anyone to try to stop thinking about that sound track after watching Psycho. The music is the best! 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 this shot remind of any other Daily Doses we have watched? I'd say the date time and details given so specifically makes it feel more news worthy and even details similar to crime detectives or lawyers notes on such matters. I think Hitch seeks to plant the seed that the information should come in handy later on but also raising the level of engagement with an investigative audience. The hotel/peep show like entrance eludes to similar voyeuristic notions as cliche as that sounds I think there's certain private times that are breached when the camera and story highlights amourous couples behind closed doors. Could be a nod to his more popular themes. 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. There's two ways I see Marion Crane being highlighted as our main character. First she is the blond woman in her skimpies (Janet Leigh is the best) taking the spotlight and secondly her dialogue and amount of coverage is prominent. I'd say more but if there are folks who haven't seen Psycho it's best to keep the suspense thick...
  13. I think Hitch was always looking to further the point (characterization) of his characters. Without giving spoilers away your point should come to fruition at a later time in the movie...
  14. 1. Even at the level of the dialogue, this film is playing with the idea that two Hollywood stars are flirting with each other (e.g. the Thornhill/Grant line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. There seems an inside joke created when you consider their star power (double meaning in that sense). The audience could be getting nudged in that context for the fame Grant and Marie-Saint acquired. Not really my area of interest because society is way too caught up in fame is my feelings. I have a hard time seeing people's feelings ignored because they are not say Cary Grant. At some point fame created this monster-like system where folks use wealth and popularity to justify ignoring those who do not possesss such status. I'm also a bit of a hypocrite because I am attracted to external beauty more than internal (which takes time to learn of). Also seems the paradox of falling for onscreen beauty because its unattainable and fleeting in that it won't last... 2. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In that sense, discuss how Hitchcock uses the R.O.T. matchbook as an important piece of acting business (or as a prop) in this scene. The matchbook becomes a useful deviation because it brings him in contact/closer to Eve Marie Saint for their flirting and serves as a further clue that he is not who he says is. She already knows he's on the run so the prop in my opinion is like hitting it on the nose. 3. How is Hitchcock using sound design in this scene? Consider music and other background sounds in your answer. The music is subtle but her flirting is obvious. The sounds of the train can be suggestive that the scene is in motion and their lives are now also connected. I'd say the sounds of the train-car they're in is also active and sounds of more than the two also plays into the discretion from both of them. It's awkwardness seems to be the point as well because he's not who he claims to be. There's a cat and mouse scenario only he's not the cat and more the prey in the scene. Only difference is he doesn't seem to care because of her proposition. Update: this scene is hugely about sex and I can't believe I went on about inner feelings etc when clearly it's flirty before "love" and sexy time.

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