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About gardenias

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  • Birthday 09/11/1990

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  1. I see a lot of Hitchcock in various horror films that have been released over the years. Many directors are influenced by him including horror master John Carpenter. Halloween not only starred Janet Leigh's daughter but the doctor was named Loomis after the boyfriend in Psycho. It Follows one of the better horror films in recent years was greatly influenced by a variety of films and it appears that Hitchcock may have been an influence on him as well.
  2. 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. The set up is reversed to what we saw in The Lodger. The girl is killed, she is found and the crowd looks down on her. The opening scene in Frenzy ends with the crowd finding he girl in the water. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. ​Starting early on with a crowd of people and one person as the focal point (the person giving the speech). The scene doesn't give me a sense of voyeurism which is very different from Hitchcock. 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. The tone of the film begins with the opening credits. The tone is very different from many of his earlier touches and I don't feel any suspense. Tracking shot of where we are and where we are going.
  3. 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 doesn't have an identity that is her own. She has a very proud look on her face. She is very precise and this is something she has been doing for a long time. Her movements seem very ridged and put together. How does Hitchcock use Bernard Herrmann's score in this scene?Romance and Mystery are the key words that pop into my head when I hear this score. It has a much lighter sound than many of his previous films. It plays into the camera work and adds to the fact that we barely see Marnie.Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that variation means? We see Hitchcock a lot quicker than we usually do. He also looks straight at the camera and the cut from him is super quick. This is telling us that this film isn't what it appears to be.
  4. 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?The scene between Melanie and Mitch resemble a meet cute. They are more like Tom Hanks and Meg Ryan in You've Got Mail. That is even more the case the further you get in the scene. Some of the aspects of the opening do resemble a horror film opening. The foreshadowing the birds and having the birds play such a prominent role in these two characters meeting. The sound of the whistle before she notices the birds and the isolating of the birds sounds. They are the soundtrack of the film. In horror the music is often a character of its own. Melanie and Mitch are very similar. They enjoy playing a game of cat and mouse with each other. 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?The sound of birds keep you on your toes. First you hear a whistle from a boy directed towards Melanie and then she notices the birds. This adds to suspense in this moments but sets up suspense for later. The sound of birds in the shop works the way themes in films work. When you hear that sound you know something is coming. The shop workers line "storms a brewing," adds to that. 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.In could possibly play in to the fact that this is where your leads meet.
  5. 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?This score gets to me. I can feel someone as they follow me. There is a sense of paranoia in the song. This song definitely plays into the search for information and the need for answers. 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?We are the voyeurs in this situations. When you place the date and time we as an audience become more confined. We are strapped in for the ride so to speak. It adds to the suspense. 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. The majority of the dialogue and camera focus on her. We are meant to identify or like her so we feel something when she is killed. Regardless of her situation we are meant to feel for her.
  6. 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 line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. Even Cary Grant wanted to be Cary Grant. Roger Thornhill definitely did not want to be George Chaplin. I always think its fun when Grant plays with his persona in films. I even love it when others play with it. There is a real sense of who "Cary Grant" is in this scene and a lot of that plays out in the interaction between these characters. 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. Thornhill has the matchbook. Eva has a cigarette. Her eyes will go to the matchbook as he lights his cigarette. Eva's focus becomes our focus. How is Hitchcock using sound design in this scene? Consider music and other background sounds in your answer. The music is such a contrast to the scene. I hardly even noticed it. The music is old fashioned and more conservative than the conversation that is being had. There is the tiny hint of a train moving but the sound is not too prominent as if it is there to remind us that they are on a train.
  7. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. Much of the opening title focuses on a girl. Seeing this, I automatically assume that a women is going to be a focus of the film. It stars a man and a women and a women is when we see, I see the film focusing on her from the males perspective. The spirals and colors give me the illusion that things may get out of control but I've probably already guessed that considering it is a Hitchcock film. In your own estimation, what is the single most powerful image in this title sequence? Defend your answer.The colorful spirals are the most powerful image because I cannot look away. When you consider the rest of the film, this is the beginning of your journey. This is where your focus begins. It is hard to look away from the spirals and it is rare that a title sequence does that. How do Saul Bass’ images and Bernard Herrmann’s score work together? How different would this sequence be with a different musical score?When you hear the title score my mind goes to two places. One I see a spy thriller and the other I see a sci-fi film. In away Vertigo can fit into both of those categories once you reach the end. It has many elements of both and sci-fi doesn't always have to be about truly out of this world things. To be honest, I've never been the biggest fan of this film but it is a great film to study. The spirals and imagery pull you in. The music makes you stay. The score and title sequence work well together because they mesh perfectly and are working to evoke the same feeling.
  8. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window?He is establishing us as voyeurs. What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock gives us Jeff’s backstory simply through visual design?The pictures and the broken camera tell us what his job is and that he may have sustained his injury at work. Does this opening scene make you feel like a voyeur or, at a minimum, remind you of being a an immobile spectator? What feelings does Hitchcock elicit from you as his camera peers into these other people’s apartments?We learn that the dancer is a dancer because of her actions. We learn about her through watching. We become Jeff before we even know what happens next. I love the feeling I get when I am made to be a voyeur while watching a film. It means that so many people did an amazing job because they made me feel like I am doing or did something I shouldn't. Bonus question: if you have seen the entire film before, do you agree with Hitchcock that this film is his most cinematic?I never thought of that before but I would agree. It contains so many elements without having to go too big.
  9. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific. The taxi's, the entrances, the score, the train tracks, opposing sides. As they begin to mesh the music changes. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, to clothing and shoes, to dialogue and speech, for example. Bruno is more garish. His shoes are not plain like Guy's. He has a printed tie. His music is more cartoonish and quicker while Guy's slow's down in the first moments. Bruno asserts his dominance by shaking Guy's hand without it being given. Bruno holds himself and moves precisely, while Guy moves as any man does. Bruno has a more feminine stride. I believe that Bruno uses his more feminine qualities as a way to appear unassuming while asserting his dominance on people. While the visual design gets the most attention typically, how does the Dimitri Tiomkin score function as part of the mood and atmosphere of this opening sequence? I never took much notice of the score until now but I have to say the differences in the music that scores Guy's walk and Bruno's are pretty clear. The change becomes more apparent as the characters get closer to meeting.
  10. What Hitchcock "touches" do you see in this early scene from the movie? Hitchcock was not afraid to try a range of shots and styles throughout his career. The angled shot of Cary Grant and the rotation of the shot as he walks towards Bergman is probably the most obvious. The shot of Cary in the doorway and the close up of Bergman as she's in bed also have the Hitchcock touch. How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? Cary is in shadow and we he is alone in frame he is lit darker than Bergman who has more light in her own scenes. It is in-between we they are both in the shot. Showing Grant looking over Bergman as she is in bed adds to the sinister nature of his character and to his dominance over Bergman. Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas? Grant is cast out of his usual type while Bergman plays a character similar to others in her career.
  11. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? The couple are in the middle of something. Hitchcock, most notably in his American films, starts at an important moment for the characters. This can be seen in the disarray of the room. 2. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? The Tracking shot along the clothing resembles that of Rebecca. We are given a peak inside this couples life. 3.What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not? I think they are both well cast. Comedy is Carole's strength and Montgomery has a very doe eyed look about him. Their appearance and personal way about them can carry over into the serious aspects of a situation while still remaining comedic.
  12. 1.As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. Uncle Charlie is a likable man as seen by his relationship with the landlady. This is a prelude to his relationships later in the film. We see a man who is prepared for defeat but is not ready to give up. He also doesn't have much care for money so we are left wondering what his motives may be for his crimes. This all sets up a great speech and my favorite part of the film. 2. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from the opening of a noir film like Siodmak's The Killers? (Note: If you haven't seen The Killers, it is fine to answer this question in general terms about your own personal expectations) Uncle Charlie is the male lead of this film but he is not your average hero. That is a staple of Film Noir. The scene where he looks out the window at the cops is the most Noir moment of the whole seen. 3. As we move into Hitchcock's Hollywood years, his scores will take on more importance than they did during the British years. Music will play a big role in Shadow of a Doubt. The film's score is by Dimitri Tiomkin, the first of four film scores that the composer will create for Hitchcock. What effect does the Tiomkin score have on the mood, atmosphere, and even the pace of this opening scene? We know something is up and that Uncle Charlie can't be the hero. We notice that in the music that sounds more like introducing a villain then a hero.
  13. 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? Instead of focusing on a person or people the focus is on a place. We are also seeing Manderley through a dream. We are seeing it the way the second Mrs. De Winter sees it. It may not be the way other people do. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? The scene is set up much like the films that we have seen prior. While the tracking is different we are still taken into the world of these characters in the first moments. 3. How does this opening sequence use Manderley--the house itself--as a kind of character in the story? What affect does the flashback structure and the voiceover narration have on your experience of this scene? We notice from the start that Manderley is a place haunted by something. We don't know the type of story we are about to see but we do know that Manderley is one of if not the most important part of the story. As she talks and we see the winding of the road and the change that has come upon we realize the significance this place has had on the lives of all that has entered it. In the narration I wonder if this is a girl I want to be saved or if it is a girl that will be saved by the events that will come. We are given enough information by the direction and story but are allowed to figure things out a long the way.
  14. 1. Using specific examples, describe how Hitchcock opens The Lady Vanishes. What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay particular attention to the music. By this time the audience has an idea of a Hitchocock picture. The music sets of the dry comedic tone that Hitchcock himself wanted to be known for. The light hearted music sets up the characters and goes against the over all plot. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. They are the casual observers. They are the participatory audience. The set up shows us that they will be the comedic relief through out the story. 3. From their doorway entrance to their staircase exit, describe how Hitchcock uses dialogue, camera movement, and the placement of characters in the frame to establish Iris (Margaret Lockwood) as the star of this scene. ​Everything leads to her. As one exits, the other enters and it goes so quickly as each character and set of characters are introduced. The only true focus is on Margaret Lockwood. The scene slows a little when she enters.
  15. 1. Now that you have seen multiple openings to Hitchcock's British films, how does this opening both fit a pattern you have seen previously as well as deviate from other opening scenes? There is a strong focus from the audience to the people on stage. We spend a lot of time on them before see the observers. The changes between moments with observer and observed are not as quick. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous opening sequences of his films? I agree. You are able to identify with him and as we get further into the story you will be able to sympathize with him a lot more. 3. Reflect on the role of yet another public space opening a Hitchcock film--this time a music hall--the prominence of a performer (Mr. Memory), and the reactions of the audience in the film to Mr. Memory's act. How does these on-screen elements play into the Hitchcock touch as described by Gene Phillips? A public place is typically a symbol of safety but it a thriller it is often an indication that something is going to happen. Mr. Memory is given complexities that sets him up to mean something to the main character but he has very little impact in the sense that we don't see any action with his character so we have yet to fully form that opinion. The reaction of the audience set us up to identify with the main protagonist. We are supposed to be in his shoes so their reactions must be different. Hitchcock loves to single out his characters.
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