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Dubbed

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Everything posted by Dubbed

  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
  16. I absolutely adore the opening of Rebecca. Hitchcock welcomes his audience via a rather unsettling POV traveling down a dimly lit, serpentine path reaching eventually what appears to be the creepy cousin of a home to Ms. Bates’s house in Psycho. Gothic horror indeed. It's evident narration aided Hitchcock in crafting his dark opening sequence, but it does somewhat bare resemblance​ to the immediate opening of The Lodger simply due to its atmospheric tone and demeanor. However, Rebecca’s character introduction is a home situated beyond iron gates down a long, winding road. The home itself seems
  17. Hitchcock introduces the audience to a variety of characters in The Lady Vanishes. He allows the camera to explore the lobby of the inn, as it transitions smoothly to and from different characters. Hitchcock doesn't situate his camera too long on any one or one set of characters (until the arrival of Iris), giving viewers a rather swift feel of who may be encountered again throughout the film. Hitchcock sets up this film with a light hearted tone via music. The music contrasts the title of The Lady Vanishes, as the title in and of itself signifies a mystery chock full of suspense. But, emp
  18. The opening from The 39 Steps paints a picture of suspense. Our introduction to the protagonist, Hannay, is shrouded in secrecy. He is shot in a slightly tilted angle, which initially reveals a shadowy figure, the camera filming him from behind as he enters the Music Hall. Any sort of exchange in between Hannay and other people is exhibited in obscurity. We only see characters from roughly the shoulders down. This striking introduction is starkly reminiscent of the opening of The Lodger. Hitchcock crafts a sense of atmospheric unease, he readily drops the audience into stories of suspense
  19. Although the opening scene appears to be distinctly designed for the introduction of the film's key players, I have a feeling the plot of The Man Who Knew Too Much will be of more importance. This scene seems as though it's a what you see is what you get type of situation in terms of the characters, meaning they won't be examined very closely. Therefore, this film would rely on the plot due lack of a character driven story. Abbott exhibits a sense of lightheartedness. He actually doesn't seem to anger easily, given he's pretty much just been run over by a skier at the fault of a girl chasi
  20. Within this scene from Blackmail, Hitchcock exhibits Alice’s psychological state via aural hypersensitivity. He brings specific sounds to the forefront of the scene by amplifying their effects as personally experienced by Alice. Hitchcock is effectively​ placing the audience in Alice's point of view through the technology and craft of both dialogue and sound. A woman, possibly a family friend, begins speaking about the murder and the weapon of choice, a knife. Her voice becomes muffled, nearly silenced, with the exception of the word “knife,” which appears more and more frequently within h
  21. 1) Psycho (absolutely LOVE this film, it's inventive and clever) 2) Rear Window (smart and suspenseful) 3) The Birds (calculated, scary concept) 4) Notorious (the intelligently crafted shot of the key in Ingrid Bergman's hand left an ever lasting impression as to why Hitchcock is a genius) 5) Shadow of a Doubt & Strangers on a Train (the suspense between Uncle Charlie and Young Charlie and I adore the cross cutting in contrast and similarities of Guy and Bruno)
  22. Hitchcock’s utilization of the POV tracking shot quickly builds an anticipatory feel. In much more concise phrasing, I'll term this feel as “impending doom.” Students summoned to the headmaster's​ office typically doesn't result in friendly chatter. Hitchcock’s approach with the tracking shot expressively reveals the boys’ innermost thoughts/feelings. We see the intensity on their faces, but a very grand yet subtle addition exhibiting their sense of unease is simply the camera’s steady and slow movement. The boys seem to creep forward, nearly as though they are taking a rather lengthy amount o
  23. Hitchcock intercuts shots of a lively crowd (markedly introduced by two very energetic, giggling women dancing passed an open door. They quickly make their rounds and grace us with their presence throughout the scene.) Hitchcock’s implementation of the fingers tickling the piano keys and a spinning record sets an upbeat rhythmic flow for the people to freely and happily dance the night away. I rather adored this type of introduction to the good times occurring across the hall (away from the up and coming fighter.) The two dancing women quickly enter the frame and then flailing about, laugh as
  24. In comparing The Pleasure Garden and The Lodger, we witness Hitchcock's artistic birth as a filmmaker. He was clearly crafting his first works in a signature manner, all the while discovering his own artistry as he created. The Lodger is a departure from the context of The Pleasure Garden, as it deals directly with the Hitchcock theme(s) of suspense coupled with murder. The Lodger has been crafted directly around the grotesque (death and darkness.) The hues of the film depict an unsettling atmosphere, reminiscent of lurking danger, possibly the killer himself, around every corner. The characte
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