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yelowros

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    4
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About yelowros

  • Rank
    Newbie
  • Birthday August 17

Profile Information

  • Gender
    Female
  • Location
    Flagstaff, AZ
  • Interests
    Graphic Design, Film Titles, and Judy Garland
  1. The graphic design of the titles and the score introduce feelings of suspense, psychological experience, a chase, and of course some horror. The moving of the lines and the jarring of the names indicates perhaps slicing of a sense of uneasiness. I love Saul Bass' style! Hitchcock is seeking to establish a timeline of events at the beginning to help the viewer understand what Marion's life at the time soon leads up to in the first few minutes of her story and short time on screen. The director elects to enter the hotel room that way because her meeting with her lover is in secret and again
  2. The opening camera shot gives us all the information to understand who Jeffries is and why his leg is in a cast, it also depicts his neighbors and their daily morning routine. Hitchcock establishes a narrative of each character without use of dialog. The vantage point given is that of the viewer through the fourth wall. In this scene, we learn that Jeff is a photo journalist for Life Magazine who is laid up in his apartment with a broken leg. He seems to have been hit by a race-car. Jeff's backstory is told simply by a shot of his broken leg, a broken camera, a photo of a car, and a Life maga
  3. The use of the camera and "literal" POV frames. How the camera shows us exactly what Alicia is looking at and from her angle. This is genius! Hitchcock uses light to tell us how Alicia is feeling as she experiences her hangover and shadows Dev to keep him mysterious (and handsome). He frames and photographs each character in a way that subtlety describes their reluctant chemistry that is soon revealed once they reach Rio. The scene is slow, but gives us an idea of who each character is and what their purpose in the story is. The pairing of Grant and Bergman is perfection. Their chem
  4. 1. There are absolute evident beginnings of the "Hitchcock touch" in this sequence. The frames of the chorus girls and the camera blur as we see a man beguiled by a specific blonde chorus girl. The invitation to be a bystander looking through the wings brings the viewer closer to the sequence and the story being told. 2. I do agree with the assessments of Strauss, Yacowar, and Spoto. The drama and camera observance of an observer (classic technique). The expressions given, so words aren't necessarily needed in order to follow the scene. Also, the drama of the naive woman and the loss of her
  5. Excited for #Hitchcock50!

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