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Chillyfillyinalaska

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  1. 1. The constraints of the silent medium dictate the differing approaches to a body of a fair haired (Hitchcock and those blondes!) woman being found on the Thames embankment. "Lodger's" exposition relies heavily on pantomime aided by a very small bit of dialogue and a lot of written newspaper material to let the audience know that London has a serial killer called "The Avenger" on the loose who has already killed 7 blondes. Hitchcock creates a sense of urgency in his silent opening by using the newspaper's need to get its story out quickly to the eager public to read. "Frenzy " opens with all
  2. 1. Marnie is ladylike in her introduction into the film. She is wearing a well cut tweed suit. From behind her walk is feminine and dainty, her hair a glossy brunette. Once she is in the room (after encountering Hitchcock coming out of another room), the audience understands that she has multiple identities. Marnie is switching suitcases, placing clothes and items she has used in one case, and packing new, unused things in a different case. She changes her identity by replacing one SS card with another from several fraudulent cards she has hidden behind a purse mirror. She empties out cash fro
  3. 1 and 2. The graphics featuring lines traveling at varying speeds, directions and lengths are as chaotic as one could get and still convey the necessary credit information. The score punctuates the out of control and random feeling of the graphics by its own random and varying tempo. One of the main themes of psycho is escape. The music and lines presage Marion's flight from Phoenix, and her abrupt, random stop at the Bates Motel. In the film, Marion and Norman talk about escaping to a private island. Marion wants to escape, and thinks Norman does too, because of his poor situation with his s
  4. If I had never seen "Vertigo," I would think the film is about a period between two deaths. The obvious reason for this is that the opening sequence specifies that the story is based on a French story called "D'Entre des Morts." (Between the Deaths). I would think that the tale was about two deaths because the spiraling graphics always manifest in two rings linked to each other. The most powerful image is of the constant spiraling, which begins as an eye and results in two linked rings. As stated before, this image is a clue to the meaning of the French story title upon which the film is
  5. 1. Hitchcock sets up Bruno and Guy to be on a collision course right from the beginning of the clip shown . Each arrives in a cab from an opposite direction, each exits his cab from opposite doors, each walks with his porter heading toward the other to their track, each walks to his seat from an opposing direction and they finally collide when Guy has the misfortune to kick Bruno's flashy spectator shoes with his own completely normal looking oxfords. Although they start in opposing seats, Bruno quickly moves to sit next to Guy, who visibly reacts to having his space invaded by an aggressive f
  6. Guilt, sexuality and memory drive the Hitchcock canon. The very few exceptions to his body of work prove the rule. Hitchcock is in a class by himself, and is not a Noir director. Certainly Noir borrowed from him, but he never floated in and out of his own genre as many good, sometime Noir directors floated out of that genre (Billy Wilder, Orson Welles, Robert Siodmak, Edgar Ulmer). Labeling all crime thrillers with atmospheric lighting as Noirs lacks serious thought and insight into Noir. Hitchcock doesn't play around with gangsters, toughtalking dames or hardboiled private investigators.
  7. 1. What the audience learns from the opening scene of "Shadow of a Doubt:" Our "leading" man is depressed, lying listless in the bed of a shabby rooming house; He has two visitors whom he has never seen and who have never seen him; The two visitors don't want him to know they have come calling on him; The two visitors are likely law enforcement of some kind and are waiting for him to emerge from the rooming house; The landlady is a busybody who thinks that he has some kind of problem with the two visitors and warns him of their visit; He has plenty of money which he leaves lying aroun
  8. 1, 2, and 3. Rebecca's opening scene is atmospheric, and although Hitchcock audiences would be familiar with London fog from other Hitchcock efforts, the fog here is presented in a dream like quality to match the dream narration. As the camera wanders through what was the majestic de Wynter drive, the audience can plainly see that Manderley's surrounding foliage has been burnt out, hence the reason Joan Fontaine notes "we can never go back to Manderley again." Although the house is shrouded in darkness, the audience can also see that Manderley is a burned shell. This opening is faithfu
  9. 1. Hitchcock uses graphics to set up his opening (as he did in his silent films) by advertising that we are in a music hall. Thus, we are ready for some relaxing entertainment, and the film does not disappoint. The audience is properly ribald, making lots of amusing comments in response to the MC and Mr Memory, as well as other audience members. Hitchcock's sense of humor sets him apart from other filmmakers. Another construct is to create interest in the main character by introducing him feet first and then his entire back. (Think Jimmy Stewart in "Rear Window"). Donat's handsome face
  10. 1. and 2. Watching Hitchcock switch his POV shot from that of the boys to the accusing lady creates suspense and intensity by involving the viewer in the situation. Although this early clip looks choppy and rough, Hitchcock has perfected the POV technique by, for instance, the 1946 film "Notorious." A couple of decades after the "Downhill" clip, Hitchcock figured out how to seamlessly switch between Claude Rains' and Cary Grant/Ingrid Bergman's points of view outside the wine cellar as the two Nazi hunters are about to be caught by her husband in a clinch. In switching points of view the
  11. Although both professors indicate that Hitchcock was influenced by German Expressionism, and Hitchcock himself seems to state as much, the clip from "The Lodger" (1927) reminded me of the 1931 film "M." In our course of two years ago, about Noir, we studied "M" and learned it was an early example of Noir, directly growing out of German Expressionism. While Hitchock's film is made several years before "M," he uses carefully developed vignettes, which are edited in such a sequence as to clearly tell the story of the blonde's murder and subsequent sensationalistic reporting of that crime. Hit
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