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About Film401

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  1. Now that the course is over, my top 5 has changed a little. 1) Rear Window 2) North By Northwest 3) The Wrong Man 4) Dial M for Murder 5) Psycho
  2. I watched North by Northwest again and saw something I haven't noticed before. When Thornhill runs from the UN building after dropping the knife, outside there is a extreme long shot at a high angle. On the right is the building reminding us of the opening credits. In the center of the frame, as Thornhill runs to the street, the little plaza is in the shape of a piano suggesting he is being played.
  3. Not only does Hitch use what we would call a normal POV dolly, shot but he also experiments with a two shot POV. I don't recall seeing this in any other film. Most filmmakers would show the POV of the boys as just one view, not a two shot. Hitch experiments were designed to do something different from the norm, and this is one subtle way of telling the story a little differently.
  4. Or the narrower viewpoint is like the confining space of the boxing ring.
  5. What I found interesting, was remembering the earlier 1966 interview where Hitchcock talked about doing something different in a shot. He managed to do this in The Lodger by using the teletype/telegraph machine and the words running across the marquee instead of using title cards. He conveyed quite a bit of exposition quickly and (of course) silently.
  6. I have an idea for a discussion. List your top 5 Hitchcock films as of now (even if you've never seen a Hitchcock film) and then revise or keep your rankings at the end of the course. If you have made changes by the end of the six weeks, please feel free to tell us the reason(s) for the change.. My top 5 are : 1) North by Northwest 2) Rear Window 3) Psycho 4) The 39 Steps 5) Vertigo
  7. I think we should use the "extreamely violent" criteria. However, you must take into account the implied violence. A shadow in an alley with a lead pipe hitting someone on the head; the o.s. sound of a gun shot and the fall of a body; a scream and screatching of tires when someone falls (or is pushed) off a roof; etc. These were frightning things in Hayes Code era. Today however, with no code, we see everything. Most filmmakers assume their audience needs to be spoon fed the visual information.(don't get me started, please!) So you no longer have a crime thriller, you have a gore fest. The p
  8. That's what I feel like saying everytime I go to chat. I'm either the only one there or the only one who wants to chat.
  9. I did a show called "The Concrete Jungle" and in it were lines from various noir films such as The Big Sleep and Double Indemnity as well as others. We also watched some of these films as research for the style we should use in our performances.
  10. Slightly (?) on topic.... Would you consider Sin City a "neo-noir?"
  11. Like most other films noir, the woman is not to be trusted. Fim noir says "This is a man's world, and women should be home watching their families". If she has a job as a reporter, she must be after something else. She has to have a different agenda. Marlowe shows us he's no ordinary detective, by trapping her (physically and mentally) when they get inside his office. He let's her know he's on to her and he is not to be played. Most film noir protaganists, don't find out they've been trapped until it's too late. Marlowe also shows the audience something. He is holding the 'key' (In plain si
  12. The way Preminger introduces us to Waldo in a V.O. We think he will be narrarting the film, but he is actually a writter, and this may be just another one of his stories. The ticking of the clock reminds me of someone pecking at a typewritter, suggesting he is either "self taught" or he is very careful with the words he uses. He feels he is above everyone else, ( he makes others come to him while he's in the bath.) so he doesn't " bother with the details." In film noir, the detective character is just one step above,(if at all) the ordinary street thug. He pays attention to details. That is
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