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  1. Hi how are you doing. School has started. I’m just dealing with my MS. Good news and good doctor finally. Send me a letter. Please  


  2. The women characters in Hitchcock films (and television shows) were mostly portrayed as weaker physically and emotionally than the men characters although a female might be more cunning than the male counterpart. Even in an argument between a Hitchcock male and female (Grace Kelly and James Steward in Rear Window), the man almost always has the last word. This was the societal view of women through the 1960s and early 1970s. Would Hitchcock have ever considered a strong female character such as Ripley in the Alien franchise? Are there any Hitchcock female characters that might be considere
  3. Hitchcock once defined the MacGuffin as “the thing that the spies are after but the audience don’t care about.” Is there a MacGuffin in every Hitchcock film? For example, does Marnie have a MacGuffin?
  4. 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to re-watch the clip from The Lodger (Daily Dose #2) for comparison. Aside from the obvious technical differences, Frenzy opens with a friendly, almost soothing travelogue aerial shot of London that glides through London Bridge under the beginning titles. Ron Goodwin’s score is all strings and happy horns as though referencing the traditions of the British Empire musically. The titles are clean and elegant against the London backdrop. Only the movie title, Frenzy, is designed using white and blood red ver
  5. 1. 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. Hitchcock has selected the purse as an object that represents and contains the complete counterfeit identity of Marnie. Hitchcock’s camera focuses in close up on this purse that is a canary yellow color that stands in contrast to the near colorless hallway where we see Marie walking from behind. Even her brown suit and her dark hair contribute to the production design. We see by the various b
  6. 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? The basic opening after Melanie strides into the pet shop could certainly play as a scene from a Ross Hunter-produced movie such as Pillow Talk or Lover Come Back with Doris Day and Rock Hudson as the principal actors. Hitchcock sets the first meeting of Melanie and Mitch as a verbal, thinly veiled sexually-infused joust. We think that Melanie is fooling Mitch into believing that she
  7. 1. 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? (I wonder how this extraordinary collaboration came off? Hitchcock, Herrmann and Bass had to communicate in some form. Which came first, the development of the titles or the music? Of course, the final draft titles and music had to be fully synched and approved by Hitchcock.) Psycho is a complex psychological thriller that again plays w
  8. 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? Hitchcock is not only the master of suspense but a master of casting. One of the most interesting things to learn about Hitchcock is the importance of finding the right stars for the success of his films. In this case, Cary Grant had been a big international star for two decades. Eve Marie Saint, who had won a supporting acade
  9. 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. If I had never seen a Hitchcock film before or if I knew nothing about his reputation, I would know that a great mystery, perhaps in the supernatural realm, was about to be presented to me even before the Vistavision credit is displayed with Bernard Herrmann’s
  10. 1. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? Hitchcock allows the audience to discover the apartment courtyard setting along with some of the inhabitants. The initial panning shots that showcase the physical dimensions of the courtyard before returning to the sweating brow of James Stewart lasts 30 seconds or so. The next close-up confirms the sweltering heat by showing a thermometer hitting 95
  11. You have reached your quota of positive votes for the day

  12. 1. In how many ways does Hitchcock play with or visually manifest the metaphor of “crisscross” or “crisscrossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “crisscross” is central idea in this film, a theme Hitch sets up from the opening frames of this film.] Be specific. Hitchcock sets up the “crisscross” motif using “doubles”. For example, the camera pans left on an approaching cab coming into the train station entry. In a low shot, the camera shows a male passenger wearing spats exiting the cab and walking screen left. In another low angle
  13. 1. What Hitchcock "touches" do you see in this early scene from the movie? The Hitchcock Touch is immediately apparent in the selection of shots including extreme close-ups, dollies, expressionist angles, etc. The most prominent “touch” is Hitchcock’s presentation of a beginning attraction between Grant and Bergman that will later involve a third party, Claude Rains. Hitchcock crosses the spectrum of love, betrayal, mistrust, jealousy and sex. 2. How does Hitchcock choose to light, frame, and photograph his two stars in this scene? What are some of the contrasts that Hitchcock tryin
  14. 1. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc.? Hitchcock begins with the establishment of characters, a married couple played by Robert Montgomery and Carole Lombard, by allowing the audience to discover their personalities with certain visual cues before any dialogue begins. The first dissolve opens to a pan-dolly shot of plates of half-eaten food. The shot lands on a disheveled, unshaven
  15. 1. As mentioned in the curator's note, this scene operates as a prelude to the main story. What do learn about the character of Uncle Charlie in this prelude? Be specific. Hitchcock uses this initial scene to delineate Uncle Charlie’s sociopathic personality primarily though the visuals aided to a great degree by the dialogue with his landlady. The scene begins with a wide shot of children playing ball in the streets below a seedy apartment building. As the camera moves towards the building, Hitchcock shows tilted-angle shots of the window outside of Uncle Charlie’s room. These angled
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