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About drmichaelbowman

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  1. Unlike the other scenes we’ve watched so far, there were no crowds of people. Instead, instead of people, we see “crowds of landscape” before isolating on one house.The music is not as eerie as the accompanying visual suggest. In some parts, it’s almost whimsical. It provides quite a contrast for the menacing music as Laurence Oliver is perched on the cliff above the ocean. One touch I noticed is the use of sound as the female character yells “stop” during the closeup of the man approaching the edge of the cliff. It’s reminiscent of last week’s film where the train whistle replaced t
  2. After watching this clip several times, I am struck by these things. The scene is like watching a stage play. The music, the character interaction, blocking, movement, etc. reminded of a stage play instead of a movie set. Additionally, the movement of everyone at the beginning of the scene looked more like choreography and moving in rhythm to the music. It was almost like watching a ballet or synchronized swimming.
  3. 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? Again, Hitchcock utilizes crowds of people before isolating one or two characters in the film. I think this is especially significant for the 39 Steps because the main character appears to be an ordinary person without any connections to sinister activities. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous
  4. 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). It is difficult to separate the characters from the plot. I think Lorre’s character is so strong and critical to the plot that it is difficult to separate them both. However, if I had to choose, I would have to say the character is the most important in this film. Based on what we’ve learned so far in this module and Lorre’s performance in his early films, it appe
  5. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. To me, the significant use of sound (or lack of sound) is when Alice enters the phone booth. When the phone booth door shuts, there is complete silence. It’s just Alice and her thoughts. It appears that Alice has to make a decision that involves the police. As Alice leaves the booth, the sound returns, focuses on the droning voice of the customer that ultimately represents Alice’s subconscious about the killing involving a knife. 2. Describe the different ways th
  6. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? Each dolly shot heightens the anticipation for the audience. Something is about to happen, but what? The scene where the two boys approach the older man, the viewer believes there is about to be some sort of confrontation. When the girl approaches the two boys, the viewer believes there is going to be another confrontation. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? As mentioned abo
  7. I like the way Hitchcock isolates the characters by framing them within a mirror. This not only requires the audience to focus on the characters contained within the mirror but it indicates that the rival has become fixated on the action contained in the mirror despite the frenetic activity that is taking place within the rest of the room. By isolating on the man and woman in the chair, the rival becomes distorted in his thinking (as indicated by the elongated piano keys), until he reaches a fever pitch.
  8. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Both openings include crowds before the film finally focuses on an individual. I think that is part of the storytelling techniques Hitchcock uses throughout his films. An average person is plucked from the masses. Then the average person experiences extraordinary circumstances. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what im
  9. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Though I’m not familiar with this film, the clip suggests that one ordinary individual is about to encounter some extraordinary circumstances, a theme consistent with Hitchcock’s later films. The scene where the two men steal the items from the young woman’s purse foreshadows something significant. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-y
  10. 1. In what ways does this scene from Bananas operate as both slapstick comedy and as parody? To begin with, the humor of the scene is predicated by Allen’s dialogue. Ordering an inordinate amount of food for a rebel army from a restaurant is absurd. With this in mind, Bananas operates as a parody by lampooning war and armed rebellion. The visual of restaurant workers bringing in wheel barrows of cole slaw and thousands of sack lunches prepared for the rebels makes the scene work as a slapstick. 2. Do you agree or disagree with Mast in his view that Bananas more closely captures S
  11. Describe specifically how this scene looks and feels like a "live action" cartoon. Jack Lemmon’s character looks like Snidely Whiplash and Tony Curtis’s personae could be Dudley Do-Right. Also, the huge arrow that shoots a hole in the balloon looks very cartoonish. In what ways does this scene function as an "homage" to earlier slapstick comedies? The scene is very visual. I watched the scene with the sound turned down and knew exactly what was happening because of the visuals. How does Blake Edwards depict The Great Leslie (Curtis) as the "definitive hero" and Professor Fate
  12. Select one gag from this scene and describe why it is effective as visual and verbal comedy? (You can include discussion of performance, costume, props, set design, sound design) There are two gags that work because of a lack of visual and the use of sound effects. The first is Clouseau using the stick to tear the pool table top. The camera establishes Clouseau, the table, the ball, and the cue stick before zooming into Clouseau. When Clouseau strikes the ball, we don’t see the tear but hear the fabric ripping. The second is when Clouseau is leaving the room at the end of the cli
  13. 1. What do you think the addition of color adds to this scene and its gags? Honestly, I don’t think color adds anything to the gags. Funny is funny whether its color or black and white. 2. What are some of the techniques that Vincente Minnelli uses in this scene to make it more cinematic than a TV show such as I Love Lucy? Consider, for example, camera angles, depth of focus, or editing strategy. Desi and Lucy pioneered many techniques that are still used today (using a 3-camera set-up to film the I Love Lucy Show before a live audience, retaining the rights of each episode tha
  14. 1.As you carefully watch the scene, what do you learn about the character of Hulot (Jacques Tati) as he walks up to his apartment? There are several things that you can learn about his character based on this scene. First, his character seems to lead a rather mundane and routine existence. He must climb up and down the stairs in the same pattern each and everyday. This must be a tedious process. He also lives an isolated existence. His apartment is located apart from other tenants in the building. 2.How is the building used to support Tati's physical comedy? The composition
  15. 1. How would you compare Abbott and Costello's style of verbal slapstick in this clip with Groucho and Chico's style from Daily Dose #6? Like Groucho and Chico, the genius of Abbott and Costello is the timing and cadence in the delivery of their lines. I assume they honed these skills through hundreds of performances in live theater. They can take ordinary lines that on paper are not particularly funny and deliver them in such a way that makes them humorous. I remember Jerry Lewis talking about the genius of Dean Martin’s skill as a straight man. Without the timing and delivery of a
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