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Hawk223

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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
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