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gtunison

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About gtunison

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  1. What three Hitchcock films would you recommend as a way to understand Hitchcock to someone just discovering Hitchcock?
  2. The pace of the music telegraphs that this is a story with some twist and fast turns. The eeriness of the music scares you in the first 3 seconds and yet leaves you wanting more. The visuals are disturbing too with lines of dark and light reflect the tempo of the music and preludes the movies dark side with most shot in deem light. The day of the week is shown to reference it's the end of the week and nearly the start of the weekend. And the time of day tells us it is late in the afternoon in the sleepy town of Phoenix. The camera moving in from the outside in reminds me of Rear Window exc
  3. I feel they are being themselves in this scene. Especially Cary Grant. There is a cool and crisp element between them. You can feel the sexual tension they have. She draws him in with the match lighting her cigarette. He pulls back and she pulls him back and blows out the match. I love the sound of the train though the scene. Its almost like their banter is in rhythm with the train.
  4. The opening images gives me a sense that there will be many twist and turns in this film. The music gives me a clue that I will be shocked and frighten at times. The single most powerful image for me the sequence with the face. There is time spent on the face so it must be important to the film. I know when I first saw Vertigo I thought I must study this face. I will see it again in the body of the movie. The music and the images work together in conveying the thought of twist and turns in the plot of the movie. Very gripping music throughout the movie. At times it scare the crap out o
  5. This is my favorite Hitchcock movie. He opens the film with a morning view outside Jeff's world since he broke his leg and busted a camera during a car race. He is sleeping in his wheelchair and sweating in the 90 plus heat of the morning. Hitch gives us a look inside that courtyard and we are transformed into the wheelchair for a ride that is surely to get rough. ​Hitchcock has little movie stories within the story of L.B. Jeffers. We are drawn into their stories. It is very cinematic.
  6. Hithcock uses the camera angle nearly touching the train tracks as they cross from one to another. Also from the camera angles used with the cabs. One is left to right while the other is right to left. There is a contrast in the music between the two sets of shoes. The Black and White shoes have a loud section of music and a flamboyant fast walk to them while the set of black shoes is more reserved and at a much slower pace.
  7. ​It has the touch of Hitchcock with the panning of the dirty dishes and the game of solitare and Carol Lombard tossing and turning in bed. Suddenly a knock on the door and one eye opens. So she is awake. We are told from the camera POV that they have been in the room a few days by the looks of the dirty dishes. This scene sets up the story. We soon discover they have had a fight and vow not to leave the room till they make up. That is a MacGuffin. Montgomery and Lombard play Mr and Mrs Smith very well. They love each other but neither wants to be the first to apologize and they play c
  8. ​We learn that although Uncle Charlie has expensive taste in clothes and cigars and money just laying around he is not a choirboy. He is nice to old ladies and probably dogs but is waiting for something sinister to happen. He says to himself that the men on the corner don't have anything on him and walks right by them in broad daylight. There is the dimly led bedroom, the low camera angle with a quick zoom of the steps outside the boarding house and then we see Uncle Charlie laying on the bed. All quickly and with the music, out interest are peaked. ​The music score serves to built the
  9. 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? I say it is not that different. The house is also a character in the film. As the narrator tells us nature has taken over Manderley. The drive is grown over and though the house still stands, it is burned out and yet still a thing of beauty. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? He uses the camera to take us on a ride to Manderley. It is dark and dr
  10. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. When Alice goes into the phone booth to look up the telephone number you stop hearing the babbling lady. Alice is focused on finding that number when she comes across the number for the Police. She throws the book down and walks out of the booth only to hear the constant babbling of the customer. She is now focused on the previous night. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, ho
  11. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The boxer thinks back to when his wife was only interested in him as seen in the montage. He must be wishing he was in the party room with her by his side. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock uses to create that feeling of subjectivity. Knowing that his wife is cheating on him right in front of him
  12. 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? Both get the basis of the movie. In The Lodger it is murder and we know from the start because the first frame is a blonde screaming. In the Pleasure Garden we find girls coming down a spiral staircase and then we see them dancing on the state. Both use Golden Curls which is a Hitchcock trademark. 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
  13. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Knowing what I know about Hitchcock films if I did not know this was done by him I would thought it was just another silent film. But according to Strauss he does frame the shot so that the world is that staircase of what seems a never ending chorus of girls. 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? I can see his use of sexy blond
  14. More in the style of ZAZ. Ron is clueless that he is a boob. To that he is a mixture of Nielson and Robert Hays from Airplane in the timing of the lines. Allen's characters are normal everyday people in extraordinary circumstances like a civil war. Brooks pays respect to the genre his is spoofing. It was a take on West Side Story and they wanted to make sure to include all the local stations in the big fight. Very exaggerated without the fine music from WSS. I would say Ferrell was a fan of the Three Stooges, Groucho Marx and Woody Allen.
  15. It was like watching an old cop movie or tv show. Very dry dialogue but punched with jokes. The Swiss Army Shoe is an example.. Some what similar but with bigger site gags. Drebins car scene has Frank go into cop mode, shooting at the car and asking did anyone see the driver. Then he realizes it was his car. Not quite over the top humor but very funny. Drebin is more vocal comedy where as Clouseau is more physical comedy. Both are bumbling but in different ways.
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