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Yakutyokel

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  1. 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. Lodger starts with a scream and then body, and ends with the closeness to a crowd and alarms sent out to the City in general; Frenzy begins with an overview of the city , a public city announcement and ends with the revelation of the body with a scream. They are inversions, one of the other. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific.Experimental shots: dutch angle and long helicopter shot
  2. 1) Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? They compliment each other synchronously and asynchronously, but especially at the end of the intro when the graphics resemble nothing so much as a medical monitor output, facing toward the centerline and the score 'dies down' at the same time. Classical instruments and non-classical music--striking contrast--which is one of the themes of the film
  3. 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 pranking the audience, openly flirting with them, in a way. It is HIM seducing US by proxy, winking the whole time, pointing to the film itself as a fiction, a construct, a convention. Grant is played ironically and Marie-Saint is played against type. Everything is inverted and toyed with for fun. 2 There is minimal
  4. 1. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific.I think Hitchcock was onto something with the remark about studying it forever. I got dizzy looking over the details. This is just a skim: For instance, just before the main characters meet one walks past an woman who crosses her legs, then he sits and crosses his immediately. The
  5. What Hitchcock "touches" do you see in this early scene from the movie? Close-ups, the lighting of the drink, use of the door as a cinematic frame, the skewed angle shot that revolves around, economy/unity of place. 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 cinematography? Soft focus & high-key lighting for Bergman to give her a glowing, flawless look. Close-ups. Grant has more moderate lighting with higher contras
  6. 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. Logical, dispassionate, justifiably paranoid, careless with his money, likes to 'take in' his naive landlady, Charlie is fearful but gutsy. He likes to play the edge by walking right past, brushing even, the men sent for him. He has an almost indifferent attitude toward his situation, as if the gamble itself were the thing, not the potential consequences. In what ways does this opening remind you of watching a film noir? I
  7. 1) Of course the flashback, but also the lack of either the mundane or the striking (in terms of action). The camera work adds to the dreamlike quality, as does the slowly emotional voiceover. This is an interior view and retrospective, not an external view of events. It is subjective. Additionally, it follows the Romantic tradition of being out in nature, not in a public metropolitan or village setting. 2) The camera work. Note the ANGLE as the camera moves through the gate--it points downward rather than straight ahead. Also the constant and slow movement of the camera eye from side to s
  8. 1) The tone is light, festive, public. Folk music, so it is international, even fictionally regional. The travelers are somewhat somber and disorganized looking compared to the musician. 2) Caldicott and Chartes are more common, less glamorous, proper, and preoccupied with cricket, they provide a droll contrast to the entrance of Iris. In fact, they are ignored, something most regular folks have experienced, so the audience is likely to identify with their plight, even if they do not for them personally, which most will. They are distinctly British, and no hint of homosexuality, except fo
  9. 1) Slowly revealed billboards, off-angle camera work and a sense of suspense about an unknown character are certainly similar to The Lodger, although the Donnat character is quickly revealed. Here, Hitchcock creates suspense out of an ordinary event, attending a show, rather than a scream and a murder, with the murderer seen, but not identifiable. I prefer not to comment in general because generalizations are, well, general . . . 2) Less guilty, but only innocent of high crimes. Remember, Hannay takes up with a woman he barely knows. The implication is sexual, and casually so. Also, Hanny is
  10. 1) Close-up on Alice, prefaced by the local gossip about the murder and the use of a knife. Then the gossip dropping in clarity and volume except for the word "knife". 2) Alice is quavering, insecure under the droning about the murder with a knife, but is asked to cut a piece of bread. The droning goes on, and tension mounts as Alice slowly reaches for the breadknife, and picks it up. Given her apparent state of mind--see 1) above--her actions are somewhat unpredictable. Then the droning spikes in volume and tone on the word "knife", startling (the viewer and) Alice into jerking with the knif
  11. 1) The POV shots are both engaging and unsettling. It is as if I am being transported, rolled along. 2) The subjectivity and the breakdown of audience barriers: In effect Hitchcock does not break the so-called fourth wall--he forces the viewer to cross into the screen images. Point is, these shots engage the viewer strongly, which is a natural goal for any filmmaker. 3) Guilt and innocence; the subjective roles of jealousy and anger; Legs--lots of flesh showing (for the 1920s) in The Pleasure Garden and the woman in the Downhill scene. Also, the schoolmaster's sternness is enhanced by his stif
  12. 1) the angle and concentration on the spiral staircase, which is both suggestive (phallic) and suggestive (of the winding, indirect path of the film content). Note also the lighting of and perspective on the spiral staircase, which is slightly unconventional but not overdone, intriguing but not distracting. 2) absolutely. Stairs, for instance. Droll humor. The implacable aspect of circumstance (mentioned by other posters). 3) not much. In fact, careless dialogue could easily be a distraction. At first I kept expecting dialogue cards. On realizing that these were to be strictly metered out, I w
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