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About Cscharre

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  1. As for composers, Hitchcock probably would have been known as the person who discovered John Williams rather than Spielberg. Hitchcock's popularity at the time would have led Williams to more willingly work with him than a 'nobody' like Spielberg. However, the late James Horner or Hans Zimmer might be a better choice as this men have worked with so many collaborators and their work has left a memorable mark on cinema already. Zimmer seems like he would listen to the director's input more than others as he has writtten so many varied pieces and for so many different types of films such as, The
  2. I can't think of many but what about... The Silence of the Lambs Poltergeist The Usual Suspects The Sixth Sense The Haunting with Julie Harris.
  3. 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. Aside from finding a body, I don't see how anything about these two are similar. The Lodger is more frightening and scary. Frenzy treats death rather calmly. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. The long shot from the helicopter. A dolly shot on a major scale but still the same motion. Then we continue the shot on the politician. 3. Using Frenzy as an example, what thoughts do
  4. 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. Without words we discover, that she is a criminal. She stolen money, she creates a new identity from amoung her various SSN cards, she buys brand new clothes and throws away others, she rinses out her hair color for another, she hides a suite case in a locker only to purposely loose the key so no one can ever open it. She is running from something. How does Hitchcock use Bernard Herrmann's score in t
  5. 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? Mistaking Hedren for an employee and her playfully manipulating the moment, allows Hitchcock to establish her character's traits. She is strong, flirtatious, non-helpless, and "knows what she wants" woman. She also shows that no matter what, she will get her way. The first scene plays like a RC with its playful banter but, I've always found it rather a demonstration of Hedren controlling behav
  6. 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? With the graphics quick and crisp moment and the score producing an image of nerve-grating music, the patron gets the impression of a story of danger and suspense. The perfect score. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What i
  7. 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. For Grant, he knows he's famous and worshiped by many fans at the time. The above line plays to that. Not to mention, Saints dialogue here is a fantasy of many women at the time. To out talk Grant. Make him feel that she is the star and he's the one who should idealize her. There is minimal action in this scene, so any deviation fro
  8. 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. This film is a psychological thriller. The visual tells the viewer that this movie represents a twisted plot line. In your own estimation, what is the single most powerful image in this title sequence? Defend your answer. The most powerful is the twisted figure that a
  9. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? The opening shot establishes the POV of what will become Stewart's only outlet until his broken leg heals. The shot also points out Stewart's inability to move and how hot it is. We also see his profession with the panning of the photography equipment and his successful shots. By opening the shot with Stewart facing the apartment instead of the window, Hitchc
  10. 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. The criss-cross set up is visually present in the shot of the railroad transfer yard and the shot of the feet of the two men who, when they finally tap shoes, we see who they are. A criss-cross of chance. Even in this brief scene, how does Hitchcock create a sense of contrast betw
  11. What Hitchcock "touches" do you see in this early scene from the movie? The tilled camera shot of Grants enterance and the shot of Bergman listen to the record. The slow moving camera. 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? On Grant, straight forward and simple lighting making him look polished but not trustworthy. For Bergman, the lighting makes her look vulnerable and still beautiful. Based on
  12. 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? For Hitchcock touches, the one that stands out the most are his pan shots. The pan shot of the food that's piled up and the pan shot of the Smiths, individually. We learn through there leftover food that they are very well off; we learn through his work place that everyone waits for the two of them to finish whatever seems important to them in order to ge
  13. 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. We learned that he already knows that someone would come to the house to try and see him, thus the reason he told the landlady to not to disturb him. We also know that he is a very cool character who doesn't scare easily. And we know that he is in real trouble with the cops. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from
  14. 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? Most of this first scene is different from Hitchcock's British films. We have yet to see narration open a movie; we haven't yet seen a long tracking shot like the driveway. However, interrupting Olivier from the cliff reminded me of Hitchcock's quick disruptive scenes that tease the audience in to thinking something bad had happened. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfre
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