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Steve413

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  1. The dolly POV shots join the audience with the two boys as participants in the action. This effect is created purely by the camera movement and we are brought into the experience of moving toward the headmaster, almost as if being pulled along whether or not we want to. This adds to the visual storytelling by creating a more personal interest in the story for the audience, but more importantly, it allows the audience to share in the emotional state of the boys. I felt a sense of inevitable dread or doom in the movement torward the headmaster. The flip side shot, i.e., the woman/camera m
  2. I don't think the cameos started until Blackmail, but that would have been awesome to see him in his first directing assignment.
  3. Good point on the diagonal shot of the parking lot. Siodmak is really spare and elegant with his camerawork. He doesn't lay on noir tropes too heavily. Also Yvonne DeCarlo coming down the staircase (the good old staircase again) starting in a position of power over Duryea at the head of the stairs descending to his anger and her doom.
  4. - How is Hitchcock's rhythm and purposes different in this opening sequence, from other films noir such as Kiss Me Deadly or The Hitch-Hiker? The rhythm of this sequence suggests that we are being led to a meeting of relative equals in terms of narrative status-as opposed to the imbalanced relationships in Kiss Me and the Hitchhiker. The back and forth of the walking feet, left/right, left/right, also suggests a volleying rhythm, similar to that in a tennis match, a Hitchcockian pun given Guy's profession (he's also holding his racket in the scene) and the tennis match scenes we see later
  5. Nice observation of noir as a physical place with the same character actors showing up in multiple films. Same sets too.
  6. Compare and contrast the opening scenes of Kiss Me Deadly and The Hitch-Hiker? What is similar between the two? What is different? Why do these openings both work as excellent examples of how to open a film noir? Besides the mood of fear, disruption, and uncertainty, as well as the night shooting and the feet shot, the differences in these scenes are much more pronounced than the similarties, and we know immediately that we will be looking at two fundamentally stories and different approaches to the narrative. The woman's enterning the car is an escape (perhaps temporarily) from dan
  7. As I was watching The Killers recently, it occured to me that physical artifacts worn or owned by a character might be subtle (or not so subtle) clues to the character's nature or motivation, or symbolic of the character's relationship to another character. In The Killers, the stolen brooch Kitty wore in the restaurant scene where the Swede punches the police lieutenant is a golden spider. A few other examples came to mind: Balin's phallic walking stick in Gilda and Phylis's ankle bracelet in Double Indemnity that caught Neff's attention and could be read as the initial "chaining" of Nef
  8. I'm having the same experience, The definition of film noir is a topic that I initially dismissed as a not very interesting one, but I agree with you that the course is panning out to make that question one of real interest and value in analyzing the films. I listened to the full Clute and Edwards podcast on The Third Man in which they have an extended discussion on whether or not the film can be considered a noir at all. Clute basically says its not and Edwards maintains it is, although he did come around a bit to Clute's side as the discussion went on. Their positions turned on style vs.
  9. Someone in the course comments posited that Lydecker is gay and i agree with that reading. His "love" for Laura is not romantic at all but more in the nature of obsession with another beautiful object for his collection of artifacts. As to McPherson, Lydecker is initially dismissive of him in the opening scene, but becomes very interested when he recognizes the name of the cop hero that he himself had written about. It's just then that stands up naked and asks for his robe. He's snob enough only to be romantically interested in a guy who is not just physically attractive, but who has media
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