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AleGa

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  1. In my opinion, James Wan and Drew Goddard would be interesting Hitchcock collaborators, because both have worked many times in the genres of suspense, psychological thriller and even horror, so they have plenty of experience. The first could help with the story or as a producer while the second one would be definitely an interesting constructionist for Hitch, because he can combine the auteur touch with the audience taste (he can have a comedic tone as well). In the case of cinematography, I would like to see Hitchcock working with Jeff Cronwnweth or Matthew Libatique due to their ability to c
  2. After this course, I have started to think that David Fincher has a lot of influence from Hitchcock in many of his films. His movies have many common elements with the psychological thriller, suspense thriller or even film noir. Now, I am thinking about Gone Girl, which has a little bit of these genres and focuses on a falsely accused man, marriage and a psycopath. Also, even when it has a dark tone, there are many moments of dark comedy as well, for example, when Amy Dunne says that she is much happier now that she is dead. In the case of motifs, many important situations in the film are part
  3. In this course, I have learned a lot of new things about Hitchcock and I am amazed by his creativity an his willingness to experiment and take risks. I am an audiovisual communicator and I know how it is to work according certain boundaries in terms of standard premises, concepts or expectations as part of the production of, for example, a short film or a screenplay. That is why I admire the confidence Hitchcock shows in many of the interviews we saw in this course regarding all the innovations and new ideas he brought to the cinema from the early periods of his career. So, I was wondering, If
  4. Daily Dose #20 Daily Dose #20: Look! Opening Scene from Frenzy (1972) 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. In the first place, this opening scene begins with a wide shot of the space, not a person or people. The solemn music is neither transmiting mistery nor cause some kind of anxious sensation and it is important to say that seems to be related with a different genre to the one proposed by Frenzy. Also, there is camera movement in the first minutes and the action occur
  5. Daily Dose #19 Daily Dose #19: Real Identities Opening Scene from Marnie (1964) 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 scene, Marnie seems a methodic woman, she seems to knows exactly what she is doing all the time, as it was something common to her (since the packing to the change of ID and hair color). I like very much how it is possible to set a contrast between the way she puts the clothes in one baggage and the o
  6. Daily Dose #18 Daily Dose #18: Love Birds Opening Scene from Psycho (1960) 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? I think that the romantic comedic nature of the scene is clearer when Melanie gets in the pet shop and the character of Mitch appeares. The entire interaction between them when she pretends to be a seller has a comedic tone showed in the dialogue and its content. Also, the lighting of the scene in that mo
  7. Daily Dose #17 Daily Dose #17: What Do I Do With My Free Afternoon? Title Sequence and Opening Scene from Psycho (1960) 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 first time I saw this minimalist graphic design, I inmediately associate it with the curtain oppened by Norman Bates when he is about to kill Marion. In a certain way, all those lines are similar to the curtains video
  8. Daily Dose #16 Daily Dose #16: It's a Nice Face Scene from North by Northwest (1959) 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. Based on the movies I have seen of these two stars, I think that they have an specific persona related to their characters and performances. In the case of Cary Grant, it is not a surprise that the conversation includes many references to h
  9. Daily Dose #15 Daily Dose #15: Lissajous Figures Title Design Sequence of Vertigo (1954) 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 very beginning, it is possible to conclude that the movie is going to be related with a woman and the fact that there is a special emphasis on his mouth and eyes
  10. Daily Dose #14 Daily Dose #14: Here Lie the Broken Bones of L.B. Jefferies Opening Scene of Rear Window (1954) 1. 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 think that the first shot which is a traveling in that starts from Jeff's window sets the logic of the film in a subtle way, because our anchor is going to be that spot and the whole movie is about looking outside. From that point, the ne
  11. Daily Dose #13 Daily Dose #13: Criss Cross Opening Scene from Hitchcock's Strangers on a Train (1951) 1. 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. I personally love this opening scene from the very first time I watched the movie and I think that the criss cross metaphor is suggested pretty early. The fact that the credi
  12. Daily Dose #12 Daily Dose #12: Why Do You Care How I Feel? Early Scene from Hitchcock's Notorious (1946) 1. What Hitchcock "touches" do you see in this early scene from the movie? In this scene, it is possible to see again the importance of POV shots that in this case not only sets the audience in the Alicia's perspective but also turn out a marvelous introduction moment for Devlin. The camera also conveys extra emotion with the travelling made during the listening of the recorded discussion between Alicia and her father. It really gets us in the drama of Ingrid Bergman's character and
  13. Daily Dose #11 Daily Dose #11: Thought I'd Left? Opening Scene from Hitchcock's Mr. and Mrs. Smith (1943) 1. 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? As it is visible in other Hithcock's opening scenes, this one presents us the protagonist couple by giving certain clues of their personalities and situation in the story through the different objects found in their room, in that way
  14. Daily Dose #10 Daily Dose #10: Nothing on Me Opening Scene from Hitchcock's Shadow of a Doubt (1943) 1. 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. In my opinion, the character of Uncle Charlie is built from the very first shot, because we can see kids playing on the street in a normal way, but the next shots from outside of his room are sided conveying a sense of incorrectness like if something about that place is wrong (propbably him). Then, the money on the
  15. Daily Dose #9 Daily Dose #9: Last Night I Dreamt Scene from Hitchcock's Rebecca (1940) 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? Considering all the opening covered in the Daily Doses, I think this is the first one that includes a narration which along with the image sets the rest of the film as part of a flashback. Also, unlike other Hitchcock openings which are usually located in noisy and public places where the pressence of a crowd is a sign, the Rebecca's first sequence sh
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