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About mfederman

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    Advanced Member
  • Birthday 11/12/1970

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    That fine line between clever and stupid
  1. 1. The opening scene of Frenzy, is vastly different than that of The Lodger. Where the Lodger opens up with flashing lights, and a silent scream followed by a montage of cuts that introduce the setting, Frenzy does not open with a “frenzy” as it were. Instead there is this long, extremely long air-born dolly shot above the Thames. Accompanying it is music that is a bit dated for the date of the films creation. I could tell right away that the film wouldn’t deal with the reality of the 60’s in England. Especially London. However, there was something uneasy about the sound track. As we move
  2. 1. In this opening scene from Hitchcock’s, Marnie, we gather almost everything we need to get the ball rolling. Marnie is basically changing identities. Why? Because she’s a thief. Not much more to say except to state the obvious of what give us these clues. New clothes in a new suit case, old clothes in another. Switch out the old Social Security card and pick from one of the other ones. She’s done this before. Dump your stolen money in the new suit case, wash out the dye in your hair and dispose of the old suitcase in a way that will take people a long time to discover. It all echoes bac
  3. 1. In this opening scene from The Birds we see a playful flirtation between Melanie and Mitch being created. First off, we know that Melanie doesn’t work there, Mitch doesn’t. With her verbal exchange with the employee we get the idea that Melanie is upper class, seemingly busy, on some strict schedule, and a little worried that the bird she ordered isn’t what she will get. But this shifts-obviously Melanie isn’t too busy to have a little fun with the attractive Rod Taylor’s character. The minute she can’t name the strawberry finch’s correctly, Mitch decides to have bit of fun with her as
  4. 1. In this opening title sequence and scene, Saul Bass and Bernard Hermann basically tell us we’re going to get chopped up, physically, emotionally and psychologically. The broken wording brings to mind the way in which the human mind can seem illogical or completely separated from reality. The pure string orchestration when combined with Bass’ imagery, brings to mind slicing knives. The sound is harsh and unforgiving. 2. The actual first shots of the film not only give us a visual on a city which is not gigantic and at the same time not terribly small. So we have a small town vibe
  5. 1. In this sequence of North by Northwest, the train lunch scene is so important in truly setting the viewer up for a very confusing ride when trying to figure out the legitimacy of everything coming out of everyone’s mouth except Roger’s. The exchange of, “I know, I look vaguely familiar…” is on the first level plot oriented in that he is probing as to whether Eve, knows who he is. On the second level, it is perhaps a tool that deals in the actual psychology of Hitchcock towards his audience. Hitch knows the audience knows these two stars well and they will sympathize and feel for the bot
  6. 1. Well since I’ve seen Vertigo a couple of times, it is hard to answer this in a guessing manner, either way I’ll echo back to when I first saw it. As an artist and art teacher I am naturally very responsive to abstract visual cues, but a I am also a huge Saul Bass fan. By title alone, Vertigo automatically suggests that there is an imbalance of some sort and that something in this plot won’t add up. However, the deeply psychological mood or atmosphere created wouldn’t be the same without the wonderful counterpoint of Bernard Hermann’s score to Bass’ graphics. Both question 1 and 3 go han
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