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About Alynia

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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,
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