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About tencentjimmy

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  • Birthday 10/28/1997

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  1. 1. First of all, I must say that Hitchcock uses these techniques so seamlessly and with such grace that you really have to be looking for them to not have them slip by unnoticed because of one's involvement in the scene. The effect of these shots is that it gets us inside the characters headspace, what's rushing through his mind, and the connections that he is making mentally. Hitchcock doesn't use these types of shots just to be flashy, but they are purposeful and effective in his goal for each scene. 2. Similar idea here, I believe, in that Hitchcock uses these POV shots to have his audi
  2. 1. In this scene, easily the most experimental of The Ring ​and his previous work, Hitchcock uses almost a wide range of techniques to manipulate reality and get inside the head of one of his characters, here the newlywed boxer played by Carl Brisson. Every edit and manipulation of the imagery expresses the roiling emotions being felt by him at that particular moment, and Hitchcock seems to be having fun trying out different ways of getting those feelings across to his audience. Superimpositions, blurring and stretching the image, and twisting the scenery all help Hitchcock to accomplish his g
  3. 1. ​The Pleasure Garden and ​The Lodger ​(both considered in their entirety) are strikingly similar and yet stylistically quite different. ​​I absolutely loved ​The Pleasure Garden, ​for its greatness of style and substance, visually and thematically. It largely seemed to take its cinematic cues from early American silent films, such as those of Griffith, with Hitchcock adding his own sensibility and creating quite the beautiful picture. ​The Lodger, ​on the other hand, is clearly influenced by the German films Hitchcock claimed to have taken in during his time in Germany, particularly the exp
  4. 1. Although I am familiar with what might be meant by the "Hitchcock touch" through the many different things I have read about Alfred Hitchcock, I confess that I have only seen The Lady Vanishes (1938) and Vertigo (1958) (Also ​The Birds ​(1963), but too long ago for truly meaningful remembrance). Those two films are in the vein of what Hitchcock's name is usually associated with: thrillers, mysteries, or psychological dramas with elements of all three. ​The Pleasure Garden ​(1925), on the other hand, is a silent melodrama, the first scene of which might suggest a voyeuristic comedy; it is no
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