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About Kim_J_Lamb

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  1. Hi again, Here is Lecture Note #1, "The Heist - Part 1 of 4: No Bottom". This was the first lesson for the week of 6/7-6/15, 2015. Part One: No Bottom Whenever we see a pattern, or notice a resemblance, or identify things that belong to the same family tree in the arts--whether it is in the movies, painting, music, you name it--we tend to give a name or a label to it: to help identify it, to shorthand its importance and relevance. In movies, sometimes those resemblances or moments that we see are connected through the work of an individual. Think of names or la
  2. Hi, I can still access the notes from the lessons through my completed courses, however they were not done in a pdf format as the newer courses are. It would take much copying and pasting so I would need some time, but I would be happy to do it as long as it's not breaking any rules. For instance, here is Part 1: Part One: Entering Noir Country Pay attention to the first few minutes of a film. Right after the studio logo is prominently displayed, a filmmaker has a job to do: namely, to establish the film's story world and get you in a certain frame of mind. While many opening
  3. I wanted to throw my two cents in (ooh - there's the double). I had hoped you would ask for actor collaborators for today's module, so I held my comment until today. My pick is Johnny Depp - couldn't you see him as Bruno Antony in Strangers on a Train? Many of the commenters are suggesting Tim Burton as a collaborator, this would be a perfect fit! Thank you Dr. Edwards, and all involved, for this course. It has been interesting and fun, and I've learned so much. I always thought that my sense of humor was warped because I would laugh at some of the comedic parts of Hitchcock movies wh
  4. Hello, I'm a little late to the party (this is my first post for this course). After watching the Daily Dose of "Notorious", I'm questioning myself as to why, being a Cary Grant fan and also an Alfred Hitchcock fan, I have never seen this film! I can't wait to watch this for the first time. The angled camera shots are a dead giveaway to identifying the Hitchcock touch. I also like his use of shadows. One small detail I noticed - and based on Drs. Edwards' and Gehring's conversations, I don't think it's coincidental - was the sound of a train in the distance. We've learned throughout this
  5. I have to say that even though I knew what was going to happen, it made me laugh out loud! It's amazing to me how something so simple as slipping on a banana peel became so groundbreaking (no pun intended). It also says a lot about one thing that I believe is extremely vital in slapstick: timing. Even a simple "gag" such as this involves a great amount of timing. It is obvious when watching the subsequent film clips that Charlie Chaplin knew very well how to use it. "Just slip on a banana peel, the world's at your feet!" ("Make 'Em Laugh", Singin' in the Rain)
  6. First of all, I'm impressed that the film is such good quality! Second, I don't think it's necessary to overcomplicate it. It's funny. Period. It's something that we can all relate to. Who hasn't been the victim of a jokester crimping the hose and letting it go just when we put it to our face to see why the water stopped? Third, this is going to be fun!!!
  7. Get your popcorn ready! What a great prime-time lineup! I'm especially looking forward to seeing Criss Cross!
  8. In watching this scene, I thought it was an interesting use of the headlights of the car backing into the parking space. When the headlights illuminated Steve and Anna, they were both startled, as if they had been caught red-handed. We can see early on what the plot will be as Anna re-enters the party where her husband, Mr. Dundee, is looking for her. Another noir technique: rapid-fire dialogue, as he questions where she'd been and she fires right back at him with quick but vague answers. I think that in this scene I've discovered what may be one of my favorite lines, ever. It is spoken
  9. I write down my initial observations when I watch each Daily Dose. The first word I wrote down when I watched this opening scene from Desperate was, "Wow." I thought I was the one getting punched in the face. Raymond Burr is positively terrifying, from the moment he calls the police to the end of the scene. The swinging lamp truly does make the violence in the scene more intense. Professor Edwards hit the nail on the head with his comment on this Daily Dose: "Diskant pulls out all the stops on how to use Expressionist lighting techniques to accentuate the violence and terror being wrought
  10. This film clip definitely shows postwar paranoia: Anything can happen to anyone at any time, so keep looking over your shoulder. Maybe it's just me, but I think this theme of average-joe-gets-thrown-into-the-mix is still going strong. Not only in thrillers, but it has also kind of morphed into a lot of comedy films over the decades: It's A Mad, Mad, Mad, Mad World with the group of strangers on a quest for "the big W" (or what's buried under it); What's Up, Doc? with the four identical suitcases; Innerspace where an average grocery store clerk gets inadvertently involved in a plot to stea
  11. I noticed a difference in tone between this opening and the openings of "Kiss Me Deadly" and "The Hitch-Hiker". While the technique is similar, the upbeat music set a lighter tone, as if they were walking to the beat. The many passengers hustling and bustling around the train station made this clip different from the other clips in which the characters were alone on a dark, deserted, scary road. So I think we will all be taken by surprise as the plot progresses. I thought it was very funny how Bruno begins the conversation and pretty much dominates it, yet he tells Guy "Go ahead and re
  12. The first thing that I thought of when I saw this was, "That's the Baroness (from "The Sound of Music")?!" Then I noticed the other stellar names in the cast - Agnes Moorehead, Ellen Corby, Jane Darwell...I knew this should be pretty good. With the sirens and other noises in the background, it fits the gritty storytelling that is typical of the Warner Brothers' films noir. I'm almost expecting to hear Humphrey Bogart narrating the scene. We can just barely make out silhouettes in the van so we know that there's more than one person in it, yet there is no conversation - it certainly ad
  13. I too didn't notice that he was in the back seat. It was terrifying when I realized it. The use of the lighting (or lack of it) on his face was so well done and added to the tension of the scene. Then when the driver pulls off the road, she (Lupino) uses the point-of-view angle and suddenly we are sucked in to the scene. This movie looks really scary, and I'm looking forward to watching it. I have three words for Ida Lupino: You go, girl!
  14. We see the desperate Christina running away from something, so desperate that she would risk getting hit by a car for someone to help her. This short clip tells me that there is a recurring theme in this movie - confusion. Mike Hammer is well put-together, while Christina is disheveled; barely dressed. Why would he want to get involved? Mike Hammer is downright mean the way he scolds her for almost wrecking his car, yet he lets her get in anyway, confusing us as to what kind of a guy he is. And he's still mean in his conversation with her in the car, yet he goes along with her attempt to
  15. The first film noir element that was obvious to me was the first person narrative by John Garfield's character. When Lana Turner's character appears we know right away that she is the femme fatale (another film noir element). When we see the dropped lipstick and the camera pans upward, revealing who dropped it, I thought of a couple of things: one, the intent is for the audience (and John Garfield's character) to fall under the spell of her beauty; two, MGM is clearly showcasing (or should I say, exploiting?) one of their "more stars than there are in heaven", as Professor Edwards notes in
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