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Knuckleheads Return

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  1. Who would be Hitchcock's new Bernard Herrmann? Who would be his Edith Head? What contemporary writer would Hitchcock have loved to collaborate with? ​ There are so many highly talented and creative people in the current movie industry that this is a very difficult assignment. However, I have selected three candidates to be Hitchcock's modern collaborators. For music I have selected Howard Shore. He is a two time Academy Award winner. He created the music for The Hobbit​ series and all three of the Lord of the Rings​ films. He also created the music for ​Silence of the Lambs a
  2. To try and capture as many of these Hitchcock inspired films will be a herculean task. Imdb has an interesting list at: http://www.imdb.com/list/ls071418428/ which gives 97 Hitchcock films not directed by Hitchcock. One of my own favorites is Duel​ from 1971. How much more of German Expressionism can you get then a 5,000 gallon fuel tanker following you with malice and being unstoppable. Man versus machine! Can't leave out Bogart's ​Dark Passage ​from 1947. A few others from the list mentioned above are ​Play Misty For Me, Jaws, Abandon Ship (Tyrone Power 1957) , and ​
  3. My question is: Why do you think Hitchcock detested method actors? Was it a question of control or lack of control? I'd enjoy some specifics. Thanks.
  4. 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. ​Frenzy opens almost like a travelogue. We have the initial postcard like image of the Thames flowing through London. We than see the crowd gathered on the side of the river listening to the politician. We then have the line "Look!" and the crowd diverts their attention to the dead body floating along. We see the cameo of Hitchcock very early in this film. He is even wearing a bowler hat to fit right in to the London scene. The Lodg
  5. 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.​ ​ We learn that how she looks, how she dresses and how she appears are very important to Marnie. Her hair, makeup and color coordination must be just perfect. We see that she has good taste in her clothes and accessories. They are of very high quality and from name brand boutiques. She has a real fashion sense about her. She has plenty of cash in her possession. She is changing her iden
  6. 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?​​ ​In the opening scene we have the playful interchange between Mitch and Melanie. When mistaken for a clerk in Davidson's Pet Shop by Mitch, Melanie decides to have some fun and string him along. Instead of saying "Sorry, I don't work here" (which I am sure many of us have experienced) Melanie acts the part as a less then knowledgeable clerk. Mitch, upon realizing that he is
  7. 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? With only Saul Bass' graphics before us for the opening and Bernard Herrmann's music we begin to experience a feeling of frenzy; a sense of fleeing with no destination in mind; a jumbled storm inside our brain and finally a sense of no peace!! 2. As the titles end, we have three shots of Phoenix, Arizona, and a very spe
  8. 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. ​ As discussed in the class lecture, Cary Grant and Eva Marie Saint are perfect in being complimentary to each other. They both bring their respective images as stars into this scene and we of course build onto this with our pre-existing knowledge of who they are and how we see them. Cary Grant is the suave, handsome, elegant
  9. 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. Just want to interject that this is my favorite Hitchcock film. What's not to like Kim Novak and Jimmy Stewart being directed by Hitchcock and oh did I fail to mention San Francisco in the 1950s! WOW!! Based on the sounds and images I thin
  10. My first comment is "When does the next course start?" I have helped many students over the years with their online classes but never took one myself. This has been a super experience for me. I want to thank Dr. Edwards, Vince Cellini, Dr.Gehring, the tech people who kept everything running, TCM and Ball State University. I learned many things about slapstick that I never knew. I enjoyed the many posts from my fellow students. I was very impressed with the level of knowledge that people exhibited and shared during the course. The one area that I found most interesting was the fact that so many
  11. I have enjoyed the "Breakdowns of a Gag" portions of the course very much. I liked the comment about "Spoofs and parodies rely on knowing winks to cinema's history". As I watched this gag I couldn't help but think about the final rumble chase scene in "Mad,Mad,Mad,Mad World"; the giant pie fight in "The Great Race", the real rumble in "West Side Story"; the gathering of the clans in "Gunfight at the O.K. Corral" ; "Spartacus" ; "Gladiator"; "Monty Python" and on and on. Not only does this scene draw on cinema history but it draws on each individual viewers own history with cinema. Many on the
  12. 1. How does the spoof style of Ferrell and McKay differ from or compare to the styles of Woody Allen, Mel Brooks, or the team of ZAZ? Be specific. A difficult question to answer. As we have discussed, Woody Allen's approach is his use of wordsmithing and conceptual parody, Mel Brooks attempts to be as outrageous as possible (we noted that Gene Wilder had to tone him back so we didn't have "Blazing Frankenstein"), and finally the team of ZAZ use of lampooning and spoofing targeted at a specific genre film. In Ferrell and McKay we see a different totally approach, in my opinion they don't go to
  13. 1. How would you describe ZAZ's approach to film parody or film spoofs in this scene? Cite specific examples. I would describe ZAZ's approach as fast paced. You had better be paying attention or the speed of the gags will leave you missing some of them. We move from Drebin driving and parking the car to chasing and firing at his own car (sure looked like Dirty Harry's make and model), to moving into the lab and meeting up with Ed and Ted. In the lab we have almost a "Q" from James Bond series of gags... the activation of the graffiti wall to the Swiss army shoe to the knock out cuff links al
  14. 1. How does this scene successfully parody the old Universal Horror films of the 1930s? Be specific. Whether looking at "The Mummy", "Dracula", "The Wolfman" or "Frankenstein", the mood, tempo and tone of a Universal Horror film is unmistakable. In "Young Frankenstein: we see the parody of Brooks and Wilder at work. Filmed in glorious black and white, we see Dr Frankenstein; his aides, and the students all dressed in white lab coats; Wilder talks in an even scientist's tone of voice. In a Universal Horror film there would always be an unbeliever or some one who challenged the scientist. We thi
  15. 1. In what ways does this scene from Bananas operate as both slapstick comedy and as parody? If we look back at Dr. Edwards points as to what defines slapstick we see that this clip from Bananas has exaggeration (wheelbarrows full of cole slaw); shows ritualistic in that Mellish and the waiter go through a ritualistic break out of exactly how many sandwiches, how many on rye, wheat, on a roll etc.; physical in the sense that this huge number of cooks and waiters have to transport these thousands of sandwiches into the jungle and finally make believe in that what revolutionary army is going t
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