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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. -- The scene is in color and has a majestic soundtrack - we are in London! (Also a note on the screen tells us so; because without the Ferris-Wheel, how would any identify the city now?) We finally enter the crowd scene and once the body is discovered, people look; but they are a silent crowd and do not show the agitation of those in the Lodger... the body of the woman is blonde... so could be where Marnie ended up. 2. What are some of the com
  2. 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. -- She is trouble, that's what she is! She likes stylish clothing, knows how to dye her hair, has a ready supply of false SSNs which means she seeks jobs with her identities. She also shops in expensive stores, stays in expensive hotels based on her ease with the world around her. However, she isn't that good at forensic science, which in the 60s wasn't that developed yet, but still, she would have h
  3. An excellent point; as I heard her request, I thought of movies now, where people are looking for robots instead of birds and the dialogue could be exactly the same. I don't think your observation was minor at all!
  4. 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? -- The banter between the two characters could indicate more of a romantic comedy, but for me the tone was off and covered more foreshadowing than playful humor. Melanie is as impatient as Mitch - yet she breaks away from her serious attitude with the clerk to play 'saleswoman' with Mitch. Mitch doesn't seem to be buying it as he knows more about the birds than her, but goes along with the gag
  5. 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? -- Sharp lines and a break in the words we know, including Hitchcock's name at then end; we know the words, but they are disjointed, cracked... we think we know the story, but it too will be disjointed and cracked. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and
  6. 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. -- This is a light breach through the fourth wall and into those fans of the stars on screen; it provides them an inner connection, a moment when they can nod and say, 'yes, I know that face,' but then add, 'and what are you going to do now?' There is minimal action in this scene, so any deviation from the overall pattern of focusing on
  7. 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. -- The title is Vertigo and the opening shots consist of a woman's face; and sequence comes out of her eye, which could indicate the chaos of her mind. Reality has been twisted and it's a question of who she is and what is going on in her head. In your own estimation,
  8. 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 is an introduction to a world seen from a window. The viewer in this case since the character sleeps, has become the voyeur - we check in to see Jeffries is sleeping before we look again out the window, and then finally we look at him and his inner world. What do we learn about Jeff in this scene without any pertinent lines of dialogue (ot
  9. 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 objects on the screen are shown in different angles, creating a criss-cross pattern on the screen; the train tracks continue that pattern as the train moves; and once again, the feet move in different directions onboard the train, passing passengers with crossed legs... then B
  10. What Hitchcock "touches" do you see in this early scene from the movie? -- Shadow, of course, though the focus on the set is diminished and given more on the two characters present, who are played as shadow and light. 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? -- The awakening of Ingrid's character to her situation and the uncomfortable path she will need to follow is hinted at in this scene; as is the c
  11. 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? -- The play with light is visible; especially the angles that cross the hallway when Sammy and the housekeeper are trying to get the paper signed. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or wh
  12. 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. -- Charlie doesn't seem surprised by the landlady's comment about the two men; that she confided her feelings to him and suggested in words and action a sort of 'protection' indicates he has some charm over her not visible in this scene. He is also not a coward and while he supposes they do not know what he looks like, he makes certain they do when he approaches and then passes them by; he has gotten a look at them - so he is a
  13. 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? -- It began with a narration and miniature shot... and finally our two main characters meeting. There were no dancing girls or crowd... the film began quietly, softly... like the monster that creeps from the closet when you are near sleep. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? -- Nothing really springs to mind. Upon reflection, the camera angles on the two char
  14. 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. -- Music runs as background, but also a clue that reveals itself once the 'agent' Mrs. Froy is known to be an agent and hums the tune for our duo. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. -- They add a great deal of humor and a bit of suspicion that they could be more than mere tr
  15. 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? -- People, people, people... Mystery can start in a crowd. You're not safe anywhere. The film deviates from the others in that it has sound. There is also a sense of calm, for being in the midst of a crowd - who watches a performance and not of dancing girls, but of Mr. Memory - an unattractive man. Swiss. Am I right? 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focuse
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