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About JaneNoir

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  1. Thanks so much for this podcast! It brought all the pieces together nicely, and emphasized the context for the films which I found informative.
  2. I have to agree with the consensus that Powell was a better and more artstic performer. But I’m surprised to admit that I really like Keeler! She’s refreshing. She’s warm and enthusiastic and awkward and relatable. I do like the opportunity this course is giving me to compare and contrast their styles, and to examine the evolution of dance as depicted in film.
  3. I’ve not seen this one yet, and I’m looking forward to it! I do agree with the idea of a battle of the sexes: I see it in her wardrobe, her gestures, her manner. She is playing along, but demonstrating that she can do anything he can do. She is not easily won over, which is the fun of a romantic comedy. I think this also reflects the changing role of women: they needed to assert themselves more to help their families get through the depression. The rain and the gazebo setting remind me of The Sound of Music. In The Sound of Music a young girl was attempting to demonstrate that
  4. I agree, as a kid, this scene frightened me. I was more horrified at the idea of her being left behind. Not being from the midwest, tornadoes were more abstract for me. And as an adult, even though I know the story can’t happen otherwise, I still wonder if they were right to leave her behind! Haha. My least favorite scene was always the makeovers at the Emerald City. I was so impatient during that portion of the movie. My favorite scene is when the witch calls for the winged monkeys. So effective!
  5. For me,the least-watchable is Family Plot. I've only seen it twice and I really wanted to like it, but I couldn't. That said, a least-watchable Hitchcock film is still better than a lot of other films out there.
  6. Is there one aspect of Hitchcock's filmmaking that you feel he doesn't get enough credit or acknowledgment for?
  7. Interesting point. I hadn't given much thought to guilt in the viewer. I definitely agree with the idea of complicity on the part of the viewer in Psycho as raised in the lecture, as far as the car scene goes. It's palpable, my own apprehension regarding whether or not the car will sink. I hadn't thought about it in terms of Rear Window. I suppose because I've enjoyed the movie too much while watching! Yes, I definitely need to revisit the Strangers film and give that idea some more thought.
  8. Regarding Monday's lecture on Strangers on a Train: Professor Edwards introduced the idea that there's a difference between "Hitchcock guilt" as depicted in this film and how Highsmith used guilt in her novel. I've never read the novel, and am quite interested in exploring this idea. Does anyone agree/disagree?
  9. I enjoyed Stage Fright. It's not his best, but it has Alastair Sim and Jane Wyman, which are worth seeing in this. And it does have a Hitchcock "touch" or two. In my opinion it's more watchable than, say, The Paradine Case. As for Under Capricorn, I confess that I only saw it once years ago and was so disappointed i never went back. I found it slow. But I'm interested to review it again, and see if I have a different reaction to it, especially in the context of this course.
  10. My first choice would have been Stage Fright, up until recently. But in the past few weeks I watched Young and Innocent for the first time, and I was surprised by how much I enjoyed it, and surprised by how Hitchcockian it was.
  11. It's a good point. And would make a great classroom debate topic! For me, certain films like His Girl Friday, Chinatown, Pulp Fiction, Sweet Smell of Success, Casablanca, The Lion in Winter, all have strong and important and brilliant visuals, but are all more quotable than any Hitchcock film, and have essential scripts. So for those films, I really do ruminate on the dialogue more than the visuals. I do think it is a question of degrees. Just comparatively speaking.
  12. When I heard this quote in the lecture, I agreed with it. Especially after taking time to absorb the idea. While I agree with you that words and dialogue can be important to a film, I would argue that Hitchcock's reputation was built more on visuals than dialogue. I confess I haven't seen Easy Virtue yet, so I can't speak to that one. I think you make a good point about the "words" themselves being significant, but it sounds as if it is the image of the words that you are describing, rather than the spoken word? For myself, when I think back on a Hitchcock film, I do think in terms of
  13. Comparing the two openings: The Lodger reminds me of The Pleasure Garden in that both have a person or persons giving a "performance" and an "audience." In The Pleasure Garden it's the girls on stage, but in The Lodger it's the woman who saw the killer and provides the description of him to the crowd and police. Also, Hitchcock's focus on faces and facial expressions is common to both. The difference, to me, between the two is the general tone. The Pleasure Garden starts of with a lighter tone. The Lodger is very intense in its opening moments, with the silent scream. Elements of Hitchcock
  14. I don't know about downloading the modules, but I know once the course is completed, you can continue to access everyting in Canvas in a "read only" mode. Which is a great feature.
  15. You're so right about Desi Arnaz. His facial expressions were highly entertaining, and he really commanded a scene better than I'd remembered. I especially enjoyed his terror when his wife took the wheel of the car. As a child, I wasn't able to watch this film, because I only felt disappointment that they weren't Lucy and Ricky Ricardo. Now I can appreciate it in its own right, and I was surprised how entertaining I found it to be. The colors really popped in this one, and I enjoyed seeing familiar faces: Keenan Wynn, Madge Blake, Herb Vigran.
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