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  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. We get the long shot coming in, vs seeing a screaming woman. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. Hitch cameo, shots from above. 3. Using Frenzy as an example, what thoughts do you have about the various purposes Hitchcock had in mind when he created his opening scenes? In the Daily Doses, we have focused on opening scenes, so there should be patterns or strategies you have noticed ov
  2. 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.We know she has several identities from the many SS cards, which could lead us to think she's a spy or a criminal. How does Hitchcock use Bernard Herrmann's score in this scene?It's very melancholic as we watch her walk, but gets brighter once she's washed the dye from her hair. We get snapped back into reality at the train station when the score ends, and the sounds of the conductor, etc, begin. Did
  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?We have a case of mistaken identity, with Tippi pretending to be a clerk, while they flirt with each other. They are both well groomed, which seems to make them from the upper socio-economic classes. Perhaps used to having their way, as Tippi can't be bothered to wait for her mynah bird, but asks for it to be delivered. How does Hitchcock use sound design in this opening sequence? For example,
  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? Lots of lines and a very intense score which lets us know there are going to be very intense moments happening in this film. 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 seeking to establish with such specificity? Also,
  5. 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. Cary Grant is seen as the attractive leading man he always is in all of his films. Eva Marie Saint is basically seducing him, which many men and women viewers would like to do. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In t
  6. 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. I think it will involve this woman, and from the music and designs, it will have dreamlike sequences. In your own estimation, what is the single most powerful image in this title sequence? Defend your answer.I like when HItchcock's credit as director comes up. The mus
  7. 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? We are taking a tour of the neighborhood. This is the viewer's vantage point. What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock gives us Jeff’s backstory simply through visual design? We see photographs, a busted camera, and a very large leg cast that apparent
  8. 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.Lots of criss crossing here. The shoes of our main characters, the train tracks, the walkers going into the station. Even in this brief scene, how does Hitchcock create a sense of contrast between Guy (Farley Granger) and Bruno (Robert Walker)? Consider everything from camera work, t
  9. What Hitchcock "touches" do you see in this early scene from the movie? Light and shadows, upside down shots. 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? For a protagonist, Devlin certainly isn't sweetness and light. He's full of shadow, as shown in the opening shot of this scene. He's debonair, while Bergman is dressed somewhat patriotically in stripes...only she still has on her clothes from the night
  10. 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? Some touches are the attempt to tell the story as a silent film....husband is on the couch means there must have been a row, food everywhere, so they've been at it for more than a day. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so
  11. 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. We learn that Uncle Charlie is not as he seems to his landlady. He starts out seemingly morose, with a lack of affect, and becomes upset after hearing about the "friends" outside, shown by smashing the water glass prior to going outside to meet his fate. In what ways does this opening remind you of watching a film noir? If it doesn't remind you of a film noir, what makes the opening here different from the opening of a no
  12. 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 scene is not a public space full of people. It's quiet, not boisterous, as the narrator tells of her dream. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? Light and shadow, camera angles. 3. How does this opening sequence use Manderley--the house itself--as a kind of character in the story? What affect does the flashback structure and the voiceover narration have
  13. 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 folk music used helps to establish this place as rural or unsophisticated. The seated folks are morose, as they are waiting for some help. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. These characters are used as comedic relief to the distress of the waiting passengers. 3. From t
  14. 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? A pattern I've seen is that there is an audience in many of the openings. This particular film also seems pretty lighthearted, as compared to some with a more serious opening. 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? He certainly seems amiable enough. An outsider, atten
  15. 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) I would think the characters are going to be more important. Opening with ski jumping and we're not going to continue with skiing or the same location seems to bolster that. 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's rich, or playing rich, he's not English,
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