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melkirsch

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  1. True Detective, seasons 1 and 2 The Passenger The Last Wave Marathon Man Picnic at Hanging Rock The Fog Eyewitness Apartment Zero Bunny Lake is Missing Taking Lives True Crime Blink Bug China Moon Bad Timing Matchpoint Laura A Stolen Life Wire in the Blood series
  2. Hello Mr. Philippe and Professor Edwards, 1. Mr. Hitchcock dealt with many limitations to his "touch" during his career. What would you consider his most unrestrained film? 2. What might Mr. Hitchcock think of contemporary film-making especially those films created in the suspense/action and romantic comedy genres? Do you think he would embrace CGI? 3. Did Mr. Hitchcock admire any other filmmakers or films in his later years? What might he think of Brian DePalma's homage of films to his legacy. 4. What were the inner motivations that led Mr. Hitchcock to explore the dar
  3. The title sequence of "Vertigo" relies heavily on the concept of the Lissajous Figure, a repetitive motion that can produce a repeating design. Lissajous figures can only vary through changing the ratio of it's curves to it's base or planes. It resembles a pendulum motion which is traditionally a motion used to induce hypnosis. The Saul Bass design coupled with the Bernard Hermann score in "Vertigo's" opening reflect this idea of a repeating motion confined to a space. The only time this shape changes is due to it's slight change in motion. Vertigo is a feeling of being disoriented yet confine
  4. The opening scene to "Rear Window" shows us the character of Jefferies who is recovering from a broken leg. He is recumbant in his wheelchair, almost looking dead but just asleep. Counterpoint to this static shot of Jefferies is the life around him in the adjacent rear building. Things are in motion, folks going about the start of their day, pigeons, a cat and dog are animated. It is Jefferies that appears lifeless. The note on his cast could be thought of an epitaph. He seems sweaty and uncomfortable but apparently resigned to his fate of being a stilled patient. He is filmed with his back to
  5. There are many allusions to criss cross patterns in this opening of Mr. Hitchcock's "Strangers on a Train." The two men, Guy and Bruno, are first introduced in a cross cut meeting while disembarking from two identical "diamond" taxis to the same train. Guy has two tennis rackets held in a criss cross grasp next to his rather plain, dark luggage. Bruno has white and flashier luggage. White for luggage is not very practical. The Tiomkin music plays the same bouncy theme for the two men yet with Bruno it is highlighted by lighter and more airy instruments as horns and strings whereas with Guy t
  6. Mr. Hitchcock's uses a door frame to isolate and focus on the Grant character's silhouette upon meeting the Bergman character, Alicia. He appears out of shadows like some cardboard cut-out, handsomely dressed in a sharp dark suit that fits him well. He is an imposing character one who will not go away easily to the ill Alicia's desire that he do so. Whether filmed upside down or right side up, this character of Devlin is persistent and appealing towards Alicia. She is disoriented, he is not. He is filmed sharply and angularly, she is filmed softly and almost out of focus. He is defined, she is
  7. The set design and costumes give off a light and airy feel to "Mr. and Mrs. Smith" unlike most of Mr. Hitchcock's previous openings we have seen. There is a lot of light in this opening and very little shadow except when the housekeeper and office worker show up at the bedroom door of the couple. The music is also light and whimsical and the only hints of trouble with a dark motive surfaces when the two characters are first filmed in close ups. There is shadow to their faces. There is a darkness and heaviness there lurking between the couple that seems troubling to them amidst all the wistfuln
  8. In this opening scene from "Shadow of a Doubt," Mr. Hitchcock lets us in on the dual personality of Uncle Charlie, a possible Jekyll and Hyde type. At first photographed serene and calm laying on the bed smoking, he soon reveals himself to be a twisted character full of rage as he unexpectedly hurls a drinking glass at the wall. He is introduced to us in a low rent boarding house yet dressed to the nines, smoking expensive cigars, money strewn on the floor. Even though he likes the finer things in life, money may not be all that makes this character tick, witness the strewn about cash load. No
  9. Mr. Hitchcock opens with a more expansive scene than his previous British era films. Even though the "Rebecca" opening is of miniature construction, the surrounding areas, the fluid camera tracking and the decaying mansion reflect a looser and grander quality. The scene's opening brings to mind an almost free-floating or dream-like attribute. This differs from Mr. Hitchcock's previous British films in that many of those scenes opened with a great deal of kinetic, earthly activity with hints of suspense and chaos to come. Crowds usually populated these scenes and "Rebecca" is all solitary, myst
  10. The chaotic and light-hearted opening in this scene reminds me of a manic "Marx Brothers" film along with the fictitious country reference. The chaos is soon smoothed over by the cuckoo clock announcement of the entrance of the three American women amongst the patiently resigned and silent group of travelers waiting for the train. The brunette is the dominant character as opposed to the blondes in her wake, she does the talking and ordering and is positioned away from the other two. She is the first up the stairs and shows us a take charge type of personality. Her name is Iris or what can be t
  11. Mr. Hitchcock starts out by showing us an anonymous gentleman entering a working class music hall, he could be "Everyman." We do not see his face until the show starts and he is positioned in the middle of the crowd. He seems better dressed, more refined and educated than the rest of the audience. His demeanor does not reflect the audience's boisterous and rowdy greeting to Mr. Memory. Mr. Memory reflects back onto this gentleman an educated and disciplined mind shared between the two. The question the gentleman gives to Mr. Memory, it is an exact question with an exact answer as opposed to t
  12. The characters in this film, "The Man Who Knew Too Much," are literally thrown together in this chaotic opening loop. This is different from the opening scenes of "The Pleasure Garden" and "The Lodger" which are well-ordered in assemblage. However, once this topsy-turvy scene is sorted out, the predominant connection is linked between the stranger in the fur coat and the shaken skier whose brave actions saved the daughter and dog. (A foreshadowing?) A long stare by both stranger and skier to each other is highlighted at the end of their interaction. They seem familiar to each other yet one is
  13. Mr. Hitchcock uses dysynchrony or counterpoint in these scenes involving Alice at the family's store with the use of scenery and sound. True to his word, Mr. Hitchcock did not match the sound to match the visuals. Alice feeling very cut off from the goings on in the family store is shown in a quiet phone booth removed from the others and startled by the words, "Police" in the phone book. This is highlighted by Mr. Hitchcock and captures her immediate focus. This further alienates and stuns Alice from the group. The day to day chatter involving a local murder takes over the shoptalk and Ali
  14. This scene from "The Ring" reminds me that sometimes the greatest fight is not against others but within ourselves. Mr. Hitchcock use of mirrors is to exhibit or reflect the character's own mental beliefs. The superimposed mirror images serve to digress from the frenetic scenes of partying and dancing. As if this personal fight is taking the boxer from life's pace and into his own emotional boxing "ring." As the image of the boxer's manager's figure dissolves from the mirror, what remains is the image of the rival and his wife. Another indication that the real fight is being waged within the c
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