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About Dubbed

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    Advanced Member

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    Lover of Film Noir, Thrillers (especially Psychological), The Golden Age/Old Hollywood, Independent, Foreign, Independent Foreign Films, & the grandest of the all: Women-Centric Films (by & about women.)

    Favorite Directors: Chantal Akerman. Joel & Ethan Coen. Alfred Hitchcock.

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  • Jon

  1. I would really love for TCM/Ball State/Canvas to highlight female filmmakers (in all areas of making a film.) Female filmmakers are few and far between, especially when lending direct focus to screenwriters and directors.
  2. I love this idea of modern filmmakers converging with Hitchcock. The first writers that come to mind are Joel and Ethan Coen. They both possess a sense of the Hitchcockian flair within their filmmaking style. The Coen Brothers capture suspense by crafting​ their narratives with elemental effects conveying a sense of danger and urgency (No Country for Old Men.) As for a musician/film scorer, I would knight the supremely talented Mica Levi for this position. Her artistry is utterly incomparable. Mica captures the mood of a film so perfectly it's as though she rewrites its script via musical comp
  3. Newly released 2017 film in the Hitchcockian vein- Lady Macbeth written by Alice Birch, directed by William Oldroyd.
  4. With his critical and commercial successes, and having a lastingly, profound cultural impact, do you believe Hitchcock is the most influential filmmaker of the 20th Century? Of all time?
  5. The Lodger’s opening depicts a woman who is affright, a signature example of German Expressionism utilized by Hitchcock in his early filmmaking days. This film also drops the audience with immediacy into the plot; we have a criminal act, a witness and now an active investigation. Frenzy eases us into its narrative with a lengthy opening, topping three minutes plus, before there is any discovery of a crime. Hitchcock likely began with the ease in effect due to this film’s obscenely depictions of violence (rape and murder.) It's as though he was merciful to his audience, which he did not afford
  6. Marnie is a character of many characters. This opening scene indicates multiple identities accompanying an endless amount of secrets. Hitchcock lends direct focus to Marnie packing two suitcases with each having stark and blatant contrasts as to the origin and organization of their contents. These two suitcases are obvious representations​ of differing identities. Marnie is readily decisive with her choosing amongst the two suitcases, which exhibits a possible plan of escape. After thumbing through a litany of identification cards, she settles on one, and exits the hotel with a suitcase in
  7. The opening scene of The Birds is centric to the encounter of Melanie and Mitch. The scene was undoubtedly designed specifically for their accidental meeting. Upon first glance, Melanie takes an interest to Mitch, and pretends to be knowledgeable about all sorts of species of birds, of which she clearly is not. This type of encounter is a classic romantic comedy element, as we witness a fumbling character attempting to impress their romantic interest. Melanie is an interesting character in The Birds, as she seems to be in the typical male role of pursuing a romantic interest. It's as thoug
  8. Saul Bass’ direct and intended manipulative distortions of the letter graphics is implicit in the distortions of one's mind. Black and white is a ferocity of contrast, a blatant notion indicative of good vs. evil. His use of a black background with white lettering exhibits darkness​ being emboldened by light. It's a permissory, illusive effect with light casting a blindingly​ overshadowing cloud of anything ominous, teetering on nullification, as we seemingly possess an intrinsic inclination to (at least) want to see the good in people, an allotment of a benefit of the doubt. As noted wit
  9. Upon my first viewing of North by Northwest, this specific scene lingered within my mind. Cary Grant’s use of sunglasses for roughly a third of the scene makes him appear famous, as though he's someone to be noticed. He does not resemble Roger Thornhill, a character in a film, he resembles Cary Grant, the movie star. Eva Marie Saint’s interaction with Grant is heavily flirtatious, and he is readily receptive. Their exchange feels natural in a sense of their knowing how to navigate that kind of attention, which Hollywood stars are accustomed to having lobbed at them very often. The matchboo
  10. Vertigo's opening credits crafted accordingly by Saul Bass and Bernard Herrmann convey a venture into the innermost unknown parts of the mind, a steep head dive into the profound realms of the subconscious. Bass’ visual creations are artfully dizzying, reminiscent of experiencing actual vertigo. The intensifying effects of Bernard Herrmann's score convey a sense of foreshadowing dread. Bass and Herrmann’s works congeal with such illusionary effect, Vertigo's opening becomes hypnotic, easily a means of entrancement. An extreme close-up of the widened eye illuminated via a red camera filter
  11. Hitchcock drops us immediately into the world of L.B. Jefferies. We're introduced to the central most point of the narrative, that being the stories taking place across the courtyard. Although lacking the intended centricity of the film (Thorwald himself and his apartment), Hitchcock exhibits an extended POV shot from Jefferies’ residence, as this one room will be where we, the audience, embark upon the voyeuristic journey with Jefferies. Hitchcock allows his camera to move in a continuous fashion, and we are given clear details pertaining to Jeff, his occupation, and his current situation
  12. The opening of Strangers on a Train is hands down one of the absolute greatest introductions a visual storyteller has ever produced. I love, love, love this opening sequence! Hitchcock masterfully connects both Guy and Bruno by directly exhibiting their differences via a ping pong to and from effect. He bounces the characters off of one another, while simultaneously tying them together crafting a sameness with such stark contrasts amongst the two. The intricately interwoven aspects of Guy and Bruno are reflective of a possible divergence in one's own character, as Hitchcock readily displa
  13. As mentioned in the lecture video, we are graced by the ever effective POV shot from Hitchcock. This camera work is a signature of the classic Hitchcock directorial style. He places the audience in Alicia's positioned state in the wearings off of inebriation. What's both technically interesting and intelligently crafted is the timed length of the shot and movement of the camera. Hitchcock doesn't just cut to a quick POV, utilizing a to and from type of exchange amongst Alicia and Devlin. He allows the camera to linger as Alicia and then moves it in the direction in which she moves her head. Th
  14. A signature Hitchcock touch in this opening scene is clearly attention to detail. The bedroom of Mr. and Mrs. Smith is an intricately crafted mess. Articles of clothing are strewn about, dishes crowd the floor leaving an impossible amount of room for a pathway, and the married couple appear to have remained in their pajamas for days on end. Hitchcock pedantically conveys his message in lacking of marital bliss very overtly through a simplistic mechanism of an unkept room. I can maintain a firm stance in agreeance with stating this opening sequence feels like Hitchcock. It's evident there i
  15. The opening of Shadow of a Doubt signifies a foretelling of ominous events. We are introduced to a character called Charlie. He’s relaxed, lying on a bed, cigar in hand, possessing zero concern regarding a rather large sum of money sprinkled about the nightstand and floor. Charlie appears to be in rumination, his eyes fixated in a forward direction. Nonetheless, we have been dropped into the narrative of an interesting character who is a wanted man with a shady past. Charlie is swiftly informed of two men, possibly authorities, awaiting his “return.” Maintaining composure, he suggests he
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