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Emma D.

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About Emma D.

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    Female
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    New Jersey; born '97
  1. 1. What Hitchcock "touches" do you see in this early scene from the movie? Clear indications in this scene from Notorious that directly point to Hitchcock are as follows: camerawork (ex: rotating camera angle on Grant, quarter shot of record player spinning) black and white outfits shadows (ex: lines/crosses cast onto wall in immediate beginning) close-ups on faces 2. How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematograp
  2. 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? As with many Hitchcock openings, we see fluid camera movement documenting the setting without a word of dialogue. We see different "pieces" of the "puzzle" and from there, we are able to formulate the situation. For example, Mr. and Mrs. Smith's bedroom is a mess due to a heated argument. Mr. Smith is seen as apprehensive and attentive of Mrs. Smith's
  3. 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. An enigmatic man, Uncle Charlie exhibits many characteristics. First of all, he seems to be nomadic. His distaste for permanent residence is inferred by his out-of-place attire, his small boarding room, and his aloof and divergent personality from that of his apparent landlady. Yet, his "friends" making their presence may state otherwise. After Charlie sees his "friends," we find out that he is being chased, and his crime
  4. 1. Describe how this opening is different from the multiple opening scenes you have seen in the Daily Doses from the British silent and/or sound period? This particular opening scene provides a foreshadowing that evokes a most unpleasant "secretive and silent" influence. After this initial scene, we begin the progression of the film with a flashback that starts it all. In terms of pertinent information, we are, at the same time, given everything and nothing in this opening scene. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfre
  5. 1. Using specific examples, describe how Hitchcock opens The Lady Vanishes. What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay particular attention to the music. The music is, perhaps, most notable in our opening scene. The song, accompanied with the smiling guests and comedic wind gust, suggests a tranquil and almost whimsical scene. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. The pair of characters, Caldicott and Charters, add some co
  6. 1. Now that you have seen multiple openings to Hitchcock's British films, how does this opening both fit a pattern you have seen previously as well as deviate from other opening scenes? A mysterious figure entering a crowded, public place jogs our memory (pun intended). We see some exhibits of dark humor being showcased with some tongue-in-cheek jests and the appearance of unusual or strange characters. A deviation from the typical patterns we see could be the first lines our protagonist utters. As we look back, do any other first lines signify important messages or meanings such as thes
  7. 1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? (It is fine to make an informed guess about the 2nd question if you haven't seen the film yet) I suspect the characters will have a bit of an edge to this film, seeing as Hitchcock, even in his silent days, put emphasis on characterization. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later in the film? While many individuals would have been angered and inconvenienced at th
  8. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. The repetitious "knife" said by the loquacious friend was the immediate thing that intrigued me to this movie. The creepy tone added to it with the silence in between only emphasize poor Alice's scattered head. In addition to this, the abrupt silence when closing the telephone booth's door and the immediate emergence of talking again once it is opened reinstate the subjective use of sound design to further empathize Alice's emotions to the audience. 2. Describe t
  9. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? These particular scenes certainly give the audience a palpable touch of suspense. The drawn out scenes stretch time as well as patience, something Hitchcock was the master at conveying. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? This visual technique further demonstrates first person point-of-view, as well as the added apprehension to the given circumstance our characters are involved in. It was
  10. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The various sequences throughout this clip express a very surreal ambiance. With the folks dancing and cheering, alone, they convey a richly appetizing party, yet with the editing, montage, and superimposition, a dreamy and lush veneer coat this man's mind with a dreadful vision of his coquettish wife. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please not
  11. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Some similarities between the two films include each possessing a six second-long opening with a cut to many different faces. A stark difference between the two films is a drastic change of emotion between the screaming face of the murdered victim in The Lodger and the joyful chorus girls in The Pleasure Garden. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the
  12. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Some beginnings noticed in this film are: blondes (the chorus dancer) parallel, connected scenes depicting diverging action (chorus girls backstage preening and the conversation between the character Jill Cheyne and the booth man) thievery [or a possible McGuffin] (the loiterer pick-pocketing Jill) geometrical shapes / light with shadows (the spiral staircase, various lines / the stage lights, the ominous night sky with its curious inhabitants of the streets) colorful music score
  13. With ZAZ's approach to film comedy, you could almost watch this scene in cartoon version and still have the serious quality of the jokes set throughout the scene. The nuances of some of the scenes, like those that make you say something like, "Woah, why did he walk around the wall and not through the door?" or that personalize some of the acts, like mistaking your car for a runaway driver, make for an inherently funny film. With this, hugg, flashy comedy scenes are needless, but probably welcomed. While watching this Daily Dose, many of the comedic bits closely resembled that of Brooks/
  14. One of the primary qualities of this scene, in terms of a parody, could be the subject content we are given: a scientist with a world of knowledge, yet has an underlying background that inevitably elaborates into the film. Initially, we have the hilarity of many nuances in this scene, as well as throughout the movie, of course. Instances owing to the comic subtlety can include something as simple as the pronunciation of Frankenstein's (or Fronkenstein's) name or the "Give him an extra dollar" cue in an already funny predicament. On the other hand, the broad slapstick humor can include the
  15. From the beginning of the scene, you get the introduction of the stunt about to be performed, the assembling of said stunt, the lull with bated breath just after the hole in the balloon is discovered (an obvious conflict that arises), and the final segment of the performer soaring down with a parachute, landing him safely to the ground. With this scene, you have a clear protagonist and antagonist (one that also has an accomplice), aiding in the standard hero/villain concept of many early slapstick comedies. You also have a complicated stunt, one that involves a sudden problem, but that mirac
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