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efederman

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  1. Both Orson Welles and Alfred Hitchcock were known to have filmed numerous projects within a circle of chosen actors over time. I find it interesting that they differed so greatly with Orson preferring method actors and Hitchcock favoring non-method actors. At the core, what does this say most about the approach of these two iconic directors?
  2. The opening scene in THE LODGER differs from the opening in FRENZY in several ways. In THE LODGER, the setting is night time and there are quick frantic cuts, lights and screams to indicate the panic of murder that just took place. In FRENZY, the setting is daytime, and the POV shot is a smooth, calm flying above the city, over the water, then close to the water, until we land at a high class gathering of a Senator who is ironically speaking about cleaning up the river. Moments before someone shouts “Look!” and we see the floating naked body of a dead woman face down in the river. The shot of
  3. True to Hitchcock, the opening scene of MARNIE is true character development created through visuals, playing like a silent film with no dialogue. To me this is most reminiscent of REAR WINDOW where we get a complete look at a character from the start. She is quite clearly changing identities, after taking off with a great deal of money, much like in PSYCHO. Her old suitcase and wardrobe are neutral in color, while her new suitcase is literally bigger, and her clothing is brighter. Her wallet goes from grayish brown, to sparkling gold. The purse is the only exception to this, which changes fro
  4. The opening scene to THE BIRDS is more appropriate for a romantic comedy than horror as we are witnessing the chance encounter of Melanie and Mitch, who both seem to be flirting with each other. There is only one ominous sign in the scene- the birds circling around outside before she walks in. The dialogue and deception between Mitch and Melanie all happen at the top or second floor of the pet shop which I find a nice touch that we are set up higher, like birds. The associations between these two and birds move beyond this however, when their playful dialogue includes a sympathy of why birds s
  5. Both the graphic design and the score in the opening credit scene in PSYCHO are bold (even in black and white). There are horizontal gray lines that move quickly across the screen then form a word, sometimes a broken word that comes into view. After a few times, the lines change from horizontal to vertical, then back again. I believe this is showing us the dual personality that encapsulates and haunts Norman and the many directions that takes him. The graphics and music also reflect the rapid nature of the stabbing knife in the various murders we are about to encounter. The music is whirling a
  6. The greatest sense I get from this famous scene in NORTH BY NORTHWEST is sophistication, well-played by superstars of the day; Cary Grant and Eva Marie Saint. He wears the superstar sunglasses (seen in very few films prior), wears his own clothes, and mentions his face is “recognizable”. She confirms and adds that he also has a “nice face”. The entire scene is really a back and forth between close-ups on these two, so other than what we can read on their faces, we must gather much of our clues from their dialogue (surprising for Hitchcock). This back and forth close up is only interrupted by
  7. The feeling I get from the opening scene in VERTIGO, is both a combination of hypnotism and falling. Even though the fall itself feels long, slow and peaceful (as if we are traveling to another space and time), there is an element of danger. The shocked look in the close-up of the eye let’s us know something is threatening. The fact that we as the audience cannot see what is frightening her increases the suspense. There is also the sense of danger as the first spinning object we see looks a bit like a stretched fingerprint of sorts. The long spinning opening here reminds me of the opening scen
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