dianuchis

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About dianuchis

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  1. I think David Fincher is attracted to the distinctive style and unfolding of murders in Hitchcock's film. Fincher is highly inspired by the detective prototype of Hitchcockian thrillers who also deal with personal matters as marriage and friendship. Fincher also utilizes marvelous title sequences that imply the motifs of the film, as well as a dramatic score. I could even argue Fincher has worked with famous Hollywood stars such as Brad Pitt and Jake Gyllenhaal. Some examples of Fincher's films being influenced by Hitch can be Seven, Zodiac, Gone Girl,Panic Room, and the Game.
  2. I think Hitchcock's choice of an aerial opening shot contributed to the recurrent theme of terror happening in a vast, beautiful place. It's the first time Hitchcock gets to work with this kind of shot to elevate this kind of theme seen in past film. Some of the common Hitchcock touches are the cameos, the use pf public spaces, the surprise in people, and the end of the beginning of the story.
  3. The opening scene of Hitchcock's Marnie echoes the themes of identity and transformation seen in his past films. One in particular is Vertigo. I think the elegant and feminine piece score of Herrmann relies incredibly on Vertigo's transformation of Judy to Madeline, notice the hair color. I think Hitchcock toyed with the idea of women having the possibility of having different identities, greatly focusing on their sexuality.
  4. The opening scene of Hitchcock's Birds definitely establishes a calm and romantic tone. However, the sound design of birds does make the motif of apocalypse linger on through the dialogue. I think it was smart for Hitchcock to not include a ordinary music score, I think the sound of birds itself gives the sole terrifying feel of attack and horror.
  5. Saul Bass' title sequence characterize the motifs of Alfred Hitchcock Psycho. The gray, straight- line pattern remains the same, but they depict the strong themes of double-personality and double-narrative, or the plot twist. The opening scene resembles Rear Window. I must not be the only one who sees that bizarre and noticeable cut to the curtains and window, just before entering the room.
  6. Hitchcock utilizes different factors of film to heighten the sexuality between these characters. The dialogue is one of the them, but the romantic background score, the movement of the train, and the exclusivity of them on the frame fabricate the a magnificent sexual scene, without sex. And i think the cigarette at the end of the scene is an enormous component to the witty dialogue exchange.
  7. Vertigo's title sequence is Hitchcock's most experimental opening scene. Again, Hitchcock is a filmmakers relying on pure cinema, visual storytelling, on the development of the narrative. As in past opening sequences, the only common quality VERTIGO has with these, is the building up of action, movement, and momentum. The titles depict the hallucination within the narrative, the spiral feel of the film, as if falling down or falling in love– the various dimensions, possibilities, and identities. Saul Bass' spirals have to ends, perhaps it tells us where Vertigo will lead, the possibility of identities and perceptions.
  8. The opening camera shot right away conveys the motif of Hitchcock's Rear Window. The film begins with the camera directed from Jeff's apartment, it moves in a continuous and at-a-distance way creating the sensation of voyeurism. The audience is the first ones to invade the space of these neighbors because Jimmy Stewart's character is sleeping through the opening scene. I think beyond being an opening scene intended to inform audiences about the character, Hitchcock might call him his most cinematic because it is always the audience who starts to peep on other's lives.
  9. Besides the obvious motifs of crisscrossing, like the tracks and the feet meeting, Hitchcock's motif is reflected on the walking and cinematography direction. Depending on the character, Hitch establishes Bruno to walk and remain on the right side and Guy on the left of the screen. The motion of the camera provides one two types of direction, right and left, in this opening scene.
  10. I think that the Hitchcock touches in this scene of Notorious are noticeable through the editing of their conversations and the shots. I think the tense conversation between Bergman and Grant is arranged as if it were a game, shots of close ups of each other construct the scene.
  11. The Hitchcock touches in the opening of Mr and Mrs Smith are detected through the sound of music, the character introduction through mannerisms, and the unfolding of the situation these characters are in. There's also the signature of Hitchcock detailed designs of the room and the costumes that reinforce the situation these characters are in. So far, i think the casting of Lombard and Montgomery is precise and works fantastic.
  12. I think in the opening of Shadow of a Doubt, Hitchcock presents more the tone, style, and presence of a character instead of a situation. He focuses more first on the essence and portrayal of a character and later on the circumstance. The film noir quality of this opening scene is the bravery and internal conflict of the character presented; their lives seem to be unimportant, doomed, thus facing death fearlessly. The score also plays an important role, especially on the last scene where the two guys follows our protagonist and the piano follows their intimidating steps.
  13. I think the opening of Rebecca is drastically different to what Hitchcock has done in his British years. There is no action to launch the energy of the film, however, we are gifted with the Hitchcock-ian technique of point of view as a narrator tells her dream as the camera travels as if it were the narrator. I do think the Hollywood quality is seen as characters and situations are more heightened and fantasy-like, specially the tone of the opening, as if it were a doomed fairy tale.
  14. Hitchcock's opening from The Lady Vanishes begins with an atmospheric of boredom, then it follows an zeal of sound, noise, and different language exchange that energizes the film. The sound isn't the only characteristic to bring momentum to the opening scene, it's also the wit of the dialogue and the way Hitchcock directed the people in the lobby. Again, the energy is released by the presentation of the protagonists.
  15. I think Hitchcock was fascinated with creating momentum on the opening scenes, and both releasing the energy into a satisfying sensation for the audience. The character introductions are simple and alluring, especially when the character is built as an ordinary individual interacting in public, popular spaces. There exists that opening scene, Hitchcock-ian pattern of momentum in action, and either going/leading for tragedy or playfulness while introducing characters.

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