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mudness

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  1. 1. What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay particular attention to the music. The scene opens with a relaxed, jolly, friendly atmosphere represented by travelers patiently waiting in the hotel lobby (reading the newspaper, smoking, chatting...), the appearance of a sweet old lady (a smiley Miss Froy) and a cheerful music in the background (the only sound one can hear for the first 30 secs). But then, as Miss Froy opens the door and leave, the strong wind pushing back seems to be the prelude of the chaotic scene (stressful tr
  2. 1. What do you anticipate is going to be more important in this film--the characters or the plot? I believe Hitchcock uses the opening scene to present the main characters the film, in an environment that's not so relevant for the plot (except maybe for the fact that through the scene we get to know that the mother (Jill) is a champion skeet shooter). Based on this premise, I think characters are more important in the movie . 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later in the film? I feel
  3. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. - I think Hitchcock uses both, sound and silence, to show a dissociative disorder in Alice. When she's alone (before stepping in the shop or when she's in the phone booth) and there is silence, Alice seems to be able to detach herself from reality (she is somewhat calm) but as soon as she's surrounded by people, the “sound” coming from other character's voices make her come back to reality, as they are talking about the murder. - Wording in the dialogue has been car
  4. 1. I definitely see his touch, from the spiral stairs sequence (though this time its symbolism is slightly different - not so much troubling), to the camera shifts or the sexual tension (legs frame, body language of the male character, etc.). I was particularly surprised by the early use of the shots where Hitchcock frames the eyes/face of the actor/actress in the center of the scene, usually in a close up. This (close-up of eyes), together with his visual humor (the first 18-20 secs of the clip are a master piece) makes me see a hint of surrealism in the sequence (maybe it's just because I'm
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