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About DrNickatNite

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  1. 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. a. The opening music and aerial shot puts one in mind of a travelogue, but while we can see St. Paul’s and Parliament in the distance, we are taken through the gritty, dirty, polluted side of the Thames south of Tower Bridge with industrial wharfs and canneries, etc. The speaker augments this vision with his explanation that the pollution is going to be taken care of and everything will be cleaned up. (This situates us in the kairos of
  2. 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. Marnie is a con artist who changes identities with regularity to cover her criminal tracks. We see little of the Black-haired Marnie – but the “new model” is celebrated with choreographed technicolor. (And isn’t Tippi Hedren also changing from The Birds’ Marion to Marnie’s Margaret?) How does Hitchcock use Bernard Herrmann's score in this scene? The music evokes a transformation from som
  3. 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? a. The movie begins with a light, comedic mood set by the humorous gesticulations of the shopkeeper, and the flirty banter of Melanie and Mitch, who show themselves to be urbane, fun-loving players in a romantic sketch. 2. How does Hitchcock use sound design in this opening sequence? For example, how are the sounds of birds used to create a particular mood and atmosphere?
  4. 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 mixture of the tight, fevered score with the slicing graphics gives the sense of tightness, tension, anxiousness, jitteriness, even frenzied action. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What is Hitchcock seeking to est
  5. 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. a) We are comfortable with these faces (“it’s a nice face”) – and that is what Hitchcock wants from his stars: the ability of the audience to connect emotionally. 2) There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significa
  6. 1) 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. a) The abstract images and evocative musical score call to mind: Falling, Mental Illness, Uneasiness, Tension, Mystery. At first blush, I would assume the film is about someone dealing with mental illness. 2) In your own estimation, what is the single mo
  7. Sunny day, birds are singing, and the new Hitchcock Course begins! What could be better? I guess the birds are sorta "caw"ing more than signing, but that's cool. Wow, more birds out here than I realized, but I'm sure it's fine.

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