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Trishy1

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  1. If this film had been made pre-code, the lead actress would have been more scantily costumed. Also, when she returned to her dressing room after her performance, she probably would have been shown taking her costume off. Her song would have been more risque - maybe the lyrics would have been more explicit than “I want you to play with me”. One theme I might expect from other musicals made during the depression would be that everyone in show business is rich! The musical numbers within these types of films are lavishly produced and the audience is dressed to the nines. These types o
  2. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? I feel that I know that Marnie is many different people, none of whom seem to have the name Marnie. First she's got dark hair, then she's blond. She's got two suitcases, one is neatly packed while the other just has clothing and personal effects thrown into it. She has several social security cards with several different names. She's an imposter, we don't really know who she is from the opening sequence. In what ways does Hitchcock visually reveal her character through her interaction w
  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? The scene seems more appropriate to a romantic comedy because Mitch initially mistakes Melanie for a salesperson and she decides to play along because he's a handsome man. People making assumptions about other people are a hallmark of romantic comedies. We learn that she doesn't know that much about birds but he does. I don't he realizes how flirty his remarks are. How does Hitchcock
  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 is a lot of sharp, "cut off" or urgent notes; the lines move from side to side - together, I am immediately thinking of stabbing. However, as the music and lines continue moving from side to side, the lines look to me as if they are running away, which is what Marion Crane does at the beginning of this film. Also, some of the titles, su
  5. 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. From the sounds and images, I would think this film would be about hypnosis. The music seems to go in circles, getting faster as the credits progress, and the images are spinning around in circles. This all seems hypnotic to me. In your own estimation, what is
  6. 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? I would describe this camera shot as "Jeff's world". I think with this opening shot, Hitchcock is just showing us what Jeff's life is - he's a photographer who can't work at the moment due to the broken leg and being confined to a wheelchair, so his life right now is what he sees outside of his window (even though his back is to the window in this shot, he
  7. 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. There are several ways that Hitchcock portrays the "criss cross" in the opening scene: the taxis that deliver the men to the station approach from different directions (one taxi is coming towards the camera, one taxi is travelling away from the camera); one man walks from right t
  8. What Hitchcock "touches" do you see in this early scene from the movie? The close ups, the POV shot that starts tilted left, following Devlin as he approaches the bed, titling right and then turning the shot upside down. 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? Cary Grant is back lit and canted left in his first shot, Ingrid Bergman is in extreme close up, with much of her face hidden by messy h
  9. 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? I'm not sure I see any Hitchcock touches and if I didn't know it was directed by Hitchcock, I wouldn't recognize that it was from this opening. Regarding the couple, we learn that they are wealthy, they've been holed up in their room for awhile because there are remnants from many meals strewn about the place and the man hasn't shaved for some time.
  10. 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. Uncle Charlie doesn't show any emotion to other characters. When the landlady tells him two men are looking for him, he realizes they are detectives, but if he's worried, he doesn't let her see it. He shows his anger at the situation after she leaves the room. He knows the men don't know what the man they are after looks like, so Uncle Charlie fearlessly walks right past them, again not showing any emotion. We also see tha
  11. Well, let's try this again: 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? This opening is slower paced and for the first two minutes, there are no people on screen. The previous openings we've seen featured many people in chaotic, public places. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? The narration and the house finally emerging from the fog and being illuminated by moonlight after the journ
  12. 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. The music at the beginning sounds like something you would hear in a Walt Disney cartoon from that era. But the music ends when the two men enter the room complaining. Then the music takes up again as the bugler in the cuckoo clock plays what sounds like a call to an army to charge, which is sort of what the passengers do when the hotel manager explains to them that the tr
  13. 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? It fits the pattern of opening in a public setting. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous opening sequences of his films? I agree. When the character asks a question of Mr. Memory, he asks very softly, as opposed to most of the others in the room who shout their questions. Plus, he is
  14. 1. Based on these opening scene, what do you anticipate is going to be more important in this film--the characters or the plot? (It is fine to make an informed guess about the 2nd question if you haven't seen the film yet) The characters. 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? He seems like a good natured person who doesn't let things bother him, but he does pause when he looks up and recognizes Louie, so there is something going on between the two of them, but we d
  15. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. Alice is preoccupied with the murder that was committed by knife, so she is overly focused on the word knife, it's all she really hears as the woman is speaking. Hitchcock's sound design is to lower the volume as the woman is speaking but he turns the volume up every time she says the word knife - in that way, knife is the only word the viewer hears and we can now feel what Alice feels. 2. Describe the different ways that the sound design of this scene operates i
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