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cmichaelhorn

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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 opening of Frenzy showcases technical advances made since The Lodger. The opening shot of London that starts from a great distance overhead, all the way into the politician speaking on the shores of The Thames would not have been possible even a year before. The Lodger starts with a murder. Frenzy is a lot less personal, with the body seen only from a distance, already dead, and face down -- impersonal. 2. What are some of the
  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. Hitch wants us to know that the purse is something important. He keeps it in the center of the screen as Marnie walks away from the camera. It colored canary yellow and is the only biright color on the screen, We know that she has at least a double life. She has fake SS numbers in a secret compartment. She has a stash of cash that she treats casually. She packs a second suitcase then locks it in a b
  3. 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? Hitchcock is careful to couch the story in a setting of normalcy to counterpoint the apocalyptic elements to follow. Melanie is suffering delays in shipping frustration, she is mistaken for the shop girl, then taken for a ride by Mitch. There are several layers moving on to of each other here. Throughout is the chatter of the birds. We learn that Mitch is not as ignorant on the topic of bir
  4. 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? The music and the graphics combine to foreshadow plot elements. Hermann is the Hitchcock of music in the sense that he is msterful at evoking specific feelings / reactions with his score. Here, the shrieking violin motif that underpins the shower scene is mirrored visually with the stabbing lines that Bass deploys across the screen. In Hermann's scor
  5. 1. 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. I don't know how much this is really there. Obviously he is referring alternately to the line 'you look familiar' as well as the subtext that his picture has been spread around and he is in the mode of concealing his identity. Certainly we know Cary Grant and are expecting his witty banter, so there is that. 2. There is minimal
  6. 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. There is a woman, she is watching something. She looks to the side, meaning she isn't looking at us (as the eye in the opening shot of Blade Runner is 'the film watching you' according to Ridley Scott), and the spiral in the eye coupled with the revolving score, sug
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