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brooke.fenton

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About brooke.fenton

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    Advanced Member

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  • Gender
    Female
  • Location
    Salt Lake City, Utah
  • Interests
    My interests include: film, screenwriting, learning, traveling, reading, cooking and baking, event planning and spending time with my loved ones.
  1. I think Hitch's new Edith Head would be Catherine Martin. Her costumes are incredibly vivid, telling and rich. I definitely think he would collaborate with Hans Zimmer for musical scoring. Zimmer's themes are iconic and thematic, very similar to the way Bernard Herrmann would have composed. While this would be incredibly outlandish, I love the idea of a Hitchcock/Coen Brothers collaboration. Can you imagine that film?
  2. Some films that I feel have the slightest traces of the "Hitchcock touch" or have been inspired by Hitchcock are: "Double Indemnity", "Repeat Performance" and "High Anxiety."
  3. 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 Lodger" was definitely more action-packed from the beginning. The murder had already taken place. Here in "Frenzy", Hitchcock sets up the scene and then we find that a murder has occurred. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. The camera work definitely has the Hitchcock touch. There is a long tracking shot at the beginning as well as quick cuts back and forth from the man giving
  4. 1. 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 obviously a mysterious character. She has multiple IDs and other items that seem to be saved for a specific identity. 2. How does Hitchcock use Bernard Herrmann's score in this scene? It crescendos when we finally see her and is mysterious while we aren't able to see her. 3. Did you see any variation in what Hitchcock is doing with his cameo in this film, and what do you think that v
  5. 1. 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? The opening is definitely misleading that this will be a horror film. It's a nice, light opening. The only slightly ominous thing are the swarm of birds flying overhead, but nothing else would lead the audience to believe that anything is wrong. The scenery is bright. Melanie wears a light colored dress. People talk on the streets, boys play as they pass her. We learn that Melanie is somewh
  6. 1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? The opening sequence of "Psycho" is very indicative of themes of the film. The music is startling and unsettling. The breaks in the title show that things appear to be solid and smooth on the surface, but the more you dive into the film and characters, you can see something is broken and demented. 2. As the titles end, we have three shots
  7. 1. 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. We know Cary Grant is the suave, debonair playboy type. We know he will be witty and clever and charming. The same cannot be said for Eva Marie Saint. She's a little mysterious and not much is known about her. 2. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two l
  8. 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. In one word: haunting. The camera is uncomfortably close on a woman's face, making sure we see every detail and flaw. The various colors, shapes and music are unsettling and chaotic. All of the elements set the tone of the film for the audience. In your own estimati
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