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About LingeringScholar

  • Rank
    Advanced Member
  • Birthday 09/04/1979

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  • Gender
  • Location
    Virginia, USA
  • Interests
    Film studies, cultural studies, literary studies, pulp fiction, superheroes, film noir, science fiction, and fantasy.
  1. In Hitchcock's earlier films especially, he liked to open on public places with people spectating. in Pleasure Garden, The Lodger, 39 Steps, and more, the audience or crowd witnessing a show or spectacle was a kind of forced recognition of culture's tendency toward corporate voyeurism. He lays this foundation before examining a theater goer or motel keepers' penchant for peeping. In Frenzy, Hitchcock takes the public voyeurism to his grandest level yet. Before we even get to the politician speaking to the crowd, we open on a helicopter shot of London with a London seal on the screen, like one
  2. Like many who suffer trauma during childhood, Marnie is psychologically and emotionally stunted in many ways, stuck within the unresolved trauma. Marnie is still in many ways a little girl. Long before we find out she goes by the girlish nickname "Marnie," Hitchcock shows her approaching her escape like a little girl playing dressup. She is playing pretend, deciding which name/social security card should she be today She is playing dress up, neatly packing some clothes in a pink case, while the clothes she's finished (bored?) with are piled carelessly in the other. She wears white cotton glove
  3. The film begins with juxtapositions long before the two leads juxtapose each other in a romantic comedy sense. We first see cars and people cooperating at a stoplight. There is a sense of order as the mass of people moves together at an assigned time and an assigned direction. Then as Miss Daniels looks up to the birds in the sky, amassing in a chaotic swarm. Even the soundtrack features the sounds of the birds mixed with the order inducing bells and horns of the crosswalk. Part of the bird call soundtrack features a whistling sound, particularly just before a young boy whistles at Miss Da
  4. The lines Saul Bass uses in the title design evoke the image of the strings from Bernard Herman's score. As the score plays on with its high notes and quick tempo, the lines themselves move on the screen at a similar pace. They change direction and are even bisected at times to resemble sound waves. Along with the score, they are quick and unpredictable, building tension in the viewer. The lines also evoke the image of blinds on a window, which establishes the voyeur theme before the first shot of the film. Then in the first scene, the camera moves beneath the blinds of the window into the
  5. I like the way Hitchcock uses the level of closeups to build intimacy between the two characters in this scene. To begin, we switch back and forth from shots of Thornhill to shots of Kendall at a comfortable distance, taking in the table top before them. Once she reveals that she has tipped the waiter to seat him with her, the camera moves into medium closeups of the actors, from the shoulders up. The position changes once more after the closeup of the matchbook reading "R.O.T.," Thornhill's initials, he says. At this point, we no longer see Eve Kendall from the front. We see her from the side
  6. Bass' title design and Herman's score are choreographed better here than in most modern programs for screen savers and such that sync sound and images automatically. When a new, more complicated spiral design appears, another layer of circular melody sounds. Some may argue that the focus on pieces of the woman's face is objectification, but the overall effect of the sound/visual syncopation, the extreme closeups of the woman's face, and the steady zoom on the camera is more complicated than objectification. It is desire for intimacy, ever thwarted so that it becomes an obsession, which is the
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