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A_Laff

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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 differs from the opening of The Lodger in a couple of ways. First, The Lodger opens with a close up shot, while Frenzy shows us a long, aerial shot of London. The Lodger has a hard opening with the scream and the murder, while Frenzy opens with a seemingly innocent scene of a public speech, and only at the end of the clip is the body discovered floating. 2. What are some of the common Hitchcock touches that you se
  2. 1. 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? Based on this opening sequence, you already know that Marnie is skilled at changing her identity; clearly she's had a lot of practice. Hitchcock reveals, through her interaction with objects, that although Marnie likes expensive things, she doesn't place any sentimental value on them. Things are meant to be used and thrown away to Marnie. 2. How does Hitchcock use Bernard Herrmann's score
  3. 1. 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? This opening scene seems more appropriate to a romantic comedy because we watch this little meet-cute between Melanie and Mitch. She's a prankster, thinking she's playing a little joke, while Mitch knows what she's up to this whole time. We learn that Melanie does not seem to take things very seriously, while we go on to find out Mitch decides to play this joke in order to teach her a l
  4. 1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? The graphic design is very sliced up, almost as though a knife has been taken to it. The music is also very frenzied and immediately gets your heart rate up. 2. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What is Hitchcock s
  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. Knowing Cary Grant as a debonair, suave playboy, that persona plays directly into this scene. Although Eva Marie Saint had just finished playing a very innocent young woman in On the Waterfront, she is still a strong and confident woman, and she holds her own (and more) with Cary Grant in this scene. 2. There is minimal acti
  6. 1. 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 you can tell several things about the film. First, it seems as though both faces and minds will be important. The music is very mysterious, a repetitive melody with crescendo. The abstract shapes that spin and spiral also add a level
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