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gardenias

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Everything posted by gardenias

  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 voye
  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 h
  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
  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
  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 characte
  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 gi
  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
  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 w
  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 ci
  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 se
  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
  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 st
  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
  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 i
  16. 1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? (It is fine to make an informed guess about the 2nd question if you haven't seen the film yet) The characters are more important in the film. I see that as being a staple for Hitchcock. When you consider this film to be about an ordinary man in an extraordinary situation it make the characters actions and emotions the subject. The entire plot itself is secondary. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affe
  17. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. ​The sound design plays into the Paranoia of Alice. The words that mean something to her predicament are louder. The sound of others is also very invasive. Alice is on edge. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, how does Hitchcock set up the shot where the knife flies out of Alice's hand so that it registers a shock in his audience? Pay attention to both what is happening vis
  18. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? The shots add to the internal suspense. You see what the character is seeing and how they view the situation. When you are taken out of that you feel as if you are seeing the situation in its true nature. It's a great way to add to the layers of situations. You add to the subtext as well. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? I almost get a sense of claustrophobia with the tracking shot. Lik
  19. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? As the scene slips into a montage the rhythm of the scene slows while the pace picks up. I am not sure if that makes sense to everyone but when I see a scene like this I listen to the music and watch each visual carefully. There is a lot of focus on what the character is seeing and what the character sees slows everything down. When the focus is on him and we are given insight into what he is feeling the pace speeds up. 2. As is the case with a lot of German Expressionist films, in this
  20. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? In both films we view incidents and other people through someone else's eyes. In The Lodger however we see a witness viewing criminal and that is where we see the Hitchcock style truly beginning. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that prov
  21. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Icy blond, specific close up (reminiscent of films like Strangers on a Train and Shadow of a Doubt.) 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? Hitchcock didn't have the same control he would later have on his films but that doesn't mean his signature could not be born and nurtured. There are many elements I see that make me thi
  22. Some Like it Hot and Psycho are my two favorites. Anthony Perkins made that ending with that sinister look on his face. Some Like it Hot had to of the best comedic actors side by side for their end. It was perfect.
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