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ShawnDog

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  1. 1. The opening of Frenzy differs from the opening of The Lodger in that Frenzy builds up to evidence of a crime, whereas the latter opens with the crime (the screaming women) and the discovery of the victim. Frenzy's opening uses Hitchcock motifs of injecting menace into a commonplace setting - a municipal presentation becoming a crime scene - and humor - a declaration to clean the river of pollution, only to have a dead body float by. The Lodger goes from the crime, to the victim, to the witness, to the mass media reporting the murder. Frenzy opens with a casual flight along the river to a
  2. One item about Marnie that I was surprised was not explored in the discussion video, was the parallels of marine to Spellbound. In both you have psychologically scarred characters, who are being investigated/examined by someone who is attracted to them emotionally and/or sexually. The genders are reversed between the two films, but both Gregory Peck and Tippi Hedren have present issues were originated from traumatic childhood events. With Peck, it is the guilt from the accidental killing of his brother. For Hedren's Marnie, it is her killing the sailor in protection of her prostitute mothe
  3. 1. This scene seems to be more of a set-up for a romantic comedy as it introduces our male and female leads as strangers, but brought together by coincidence in a public place. Mitch acts as if he mistakes her for a pet shop employee (which we find out soon after this clip that its an act he is putting on), while Melanie plays along with him, putting on her own act. This set-up of prankster-ish behavior, play acting, misunderstanding and deception are often used to create comedic situations. Add to this that her assumed motivation is only to become acquainted with this attractive man. It i
  4. 1. The title sequences to Psycho, introduce themes of the film both graphical and aurally. Bass' visuals shows each name and titled, fragmented and skewed, then readable, then fractured, indicative of attribute of the multiple sides to individuals' personality - as seen in the film with Norman's multiple personalities, as well as Marion's good-girl/bad-girl sides being exposed, as well as other characters. As every credit is handled in this manner, it defines this segmentation as being part of everyone, including the director. There is also the dissecting aspect, reflective of the method of
  5. Criss-cross - love this film! (how many times have I said that in the past three weeks?) 1. In this opening, Hitchcock uses many visuals to imply convergence of separate paths - not just in direction. It starts with the two separate cabs, shot at opposite angles, as a character emerges from each. We have Bruno going from right to left as he goes through the station, and Guy going from right to left - they are on a collision course from the vert first. Also noticeable is an 'opposition' of styles, as Bruno is shown in flashy two-toned wingtips and pinstriped pants, whereas Guy in modest at
  6. Notorious is one of my top 3 favorite Hitchcock films - grown on me over the years. 1. As Dr. Edwards mentions in the video, the POV shot of Alicia watching Devlin come into the room, turning the camera to see Devlin upside-down, is a re-use of a shot from Downhill (again where the female is observing the male lead). (Similarly, the high-angle tracking shot to the key in Bergman's hand is a repeat of a shot in Young and Innocent, where the high-angle camera surveys a ballroom, moves over the dancers, etc and eventually zooms into the drummer's twitching eyes). Also a Hitchcock 'touch', this
  7. First, I have always enjoyed this film and ADORE Carole Lombard. 1. This opening sequence features Hitchcock's creative methods of exposition to introduce his characters, circumstance and attitudes. Rather than verbally telling us this information, he allows the setting and actions provide these details, as well as allowing them to interconnect with some sense of logic, to join them into one, instead of itemizing. It flows. The indication of duration of the couple's 'sequestering' is given to us by the about of dishes laying about the bedroom, as well as Mr. Smith's unshaven appearance. Th
  8. Dr Edwards mentioning 'doubling' in Shadow of a Doubt - there is plenty of it - but one of immediate notice is the word 'shadow' in the title - a 'dark' double. 1. The prelude establishes Uncle Charlie as hiding something which is of interest to two strangers.. we don't know what he is hiding, or who the men are (the law or criminal?) - so mystery is injected immediately. Charlie seems subdued and submissive to his circumstance, but quickly flips to defiance (the throwing of the glass, and strutting by the men who he feels threatens him). This suggests potential emotional instability; anothe
  9. 1. The opening of The 39 Steps introduces the main character, providing details about them in a manner within the context of the narrative, similar to some of the other films we have seen, but he builds towards it a bit more slowly. Like The Man Who Knew Too Much, the character who is the 'tool' of the villains is also introduced without revealing their importance or corruption. My impression is the details of Hannay are given more slowly in The 39 Steps than the prior films; as he attempts to be the first to submit a question to Mr. Memory, he is pre-empted by others in the enthusiastic cro
  10. I love Blackmail, and even wrote a paper for a recent film class comparing the silent and sound versions, including analysis of the scene shown in the Daily Dose. (I highly recommend seeing both versions) 1. As referenced in the video lecture, the audio is filtered/distorted to be Alice's 'point-of-listening' (similar to point-of-view, but aural), to make it subjective, immersing the audience in Alice's thoughts. She is pre-occupied with the prior evening's events, and thus her thoughts can only be penetrated by the one word heard which is relatable - 'knife'. To hear it repeatedly pounds
  11. 1. As to Hitchcock's style, you have a form of his familiar shot/reverse-shot of an observer with the front row of leering men. The point-of-view going so far as to include an out-of-focus shot to match the spectators adjustment from monocle to opera glasses (similar to Raymond Burr when attacking the flash-bulb wielding Jimmy Stewart in Rear Window). There are also the comedic touches, of the spectator stepping on the others foot, and the dancer's removal of the admired curl. Then criminal intrigue (which the audience is made aware of, but the character is not), as the young innocent is vict
  12. 1. This scene parodies the classic Universal Horror films in the use of a scientist named Frankenstein (no matter how its pronounced) who is seen as emotionally defiant (perhaps even unstable) in the 'mad scientist' mold. The medical classroom setting did appear a few times in those classic old films. And of course the black and white photography is a direct motif of those former films. 2. Within the scene there is both broad comedy as well as the more subtle, as referenced in Wilder's comments. The subtler gags include the line 'give him an extra dollar', the doctor's glance at the studen
  13. 1.The cartoonish qualities of this clip are mainly emphasized by the bold colors in costumes, props and scenery. The outfits make up a rainbow palette of varied hues. The balloons bright red, white and blue. The catapult which is equipped with a bright red spear, is camouflaged in leaves, looking like something out of a Road Runner/Coyote cartoon. Add to it the boing sound of its release. 2. As homage to slapstick, you have the clear good vs evil characters (see answer #3), and the time setting of early 20th century time, and the use of an amazing stunt to heighten the absurdity of the c
  14. 1. When Clouseau tears the pool table felt, the audience actually does not see it happen, but between his curved pool cue, and the angle he lines up, you anticipate it. Instead of seeing it, you hear it rip the felt. To add to the humor, Clouseau describes it as "grazing" the table, while he is hopelessly trying to put the seam back together. 2. Clouseau tries to maintain his dignity, which his actions continually betray. This resistance, to keep control, stretches and magnifies the humor. It fleshes out and broadens the silent era trope of the snooty socialite getting a pie in the face.
  15. 1. Hulot is content and good natured, as seen in the literal spring in his step, his friendliness to his neighbors, even his argument with the produce seller is more conversational than confrontational. He seems perfectly accepting of his arduous and maze-like path to his home. 2. The building shows a makeshift and surreal quality to Tati's scene, cartoonish yet indicative of Hulot's financial status of modest means. One can relate to his standing, but not the extremity of the architecture, yet his trek engages us to go along, especially since he seems an appealing character.
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