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  1. 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 camerawork jumps out to me as particularly different. When I think of the opening of the Lodger, I think of closeups and news spreading of the murder. In Frenzy, we have a long wide shot leading to the crowd in order to show the more widespread news. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. There still are similarities to other films here I think, particularly the Lodger
  2. 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. She's carrying a lot of baggage! (Pun intended) There's a calculated precision to her character that we see as she discards one identity for another. She's prepared with a social security card, and we can tell she's done this before. How does Hitchcock use Bernard Herrmann's score in this scene? I feel like it builds up to us seeing her face for the first time, but I don't feel that the s
  3. 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? It follows Melanie while having the underlying component of the birds. We follow her trying to fool Mitch and their interaction. I suppose ultimately this seemingly harmless buildup will make the story all the more upsetting/horrifying. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphe
  4. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? The visual cuts are obviously cuts, which lends itself to the film. The music in strings, as I think Edwards comments, also adds to the cut theme - you wouldn't normally think so, but it does match with the music of the shower scene. The pacing of the music also lends itself to the sense of urgency. As the titles end, we have three shots of
  5. 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. It's difficult to truly piece together the context of these actors at the specific time of 1959, but my understanding of Grant as having some challenges with fame and identity add to the inconspicuous goal he has in the scene. Saint I knew from On the Waterfront of course, but I'm not sure I have a great deal of background knowledg
  6. 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. Visually, I feel like there's a level of detail expressed in the opening, followed by a disorienting component (due to the spin). The music is haunting, so all these qualities are certainly expressed later in the picture. In your own estimation, what is the s
  7. 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? I feel the opening shot lays out the canvas for the film, and introduces several of the characters we will be watching with Jeff. The music feels lighthearted and does not suggest the dark nature of where we are heading. I suppose it's not anyone's vantage point, though one could argue it's essentially Hitchcock's. What do we learn about Jeff in this
  8. 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. Obviously we get a cross in direction by having each individual walk in opposing directions. We get an overlapping of different soundtracks. The railroad track shows us a crossing pattern. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (F
  9. 1. What Hitchcock "touches" do you see in this early scene from the movie?
 The Bergman point of view shot of Grant obviously jumps out, but also the doorway framing of each character jumps out. The darkness of Grant jumps out, as Bergman is more of a mix of shades. 2. 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 cinematography?
 As I mentioned, the doorway framing is notable, as is the contrast of Grant's dark
  10. 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? Certainly the first shots jump out to me as Hitchcock touches, as we observe both Mr. Smith and Mrs. Smith watching each other. The disarray certainly begs attention, as well as the confinement of the leads. The production visuals and camerawork did not jump out to me as much. The "community" involvement of talking about the Smiths did remind me o
  11. 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. It's made clear that it's daytime, and he wishes to be alone inside. We see a carelessness for his great deal of money. We see an edge as he throws a glass. And once again, we see observe a watcher, as he watches the two men. We also see a fearlessness as he walks right by them. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here di
  12. 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? This is a very different opening than we've seen. We aren't watching watchers as we have in the past, unless there are those that the house is watching. The camera is very mobile for the tracking toward the house, but fairly still once introducing the two leads. I suppose between the narration (also different) and the tracking shot potentially a POV shot of sorts, we may in a way be watching someone. 2. What are the Hitchcock "touc
  13. 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. The atmosphere is busy, active I would say. There's a great deal of overlapping dialogue and sound, such as the entrance of the two man with the cuckoo clock. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. Similar to what others have said, they seem to be a sort of stuffy
  14. 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? It fits the pattern of watching observers and watching some sort of spectacle. But what's different here is the interaction that the protagonist participates in it. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent lead character than in previous opening sequences of his films? Perhaps, though I can't really tell from the o
  15. 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) I haven't seen the original but did see the remake (though I do not remember it well), but based on the opening I initially felt it was more character driven due to the more stationary camera and interaction displayed. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later in the
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