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About williamsc108

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  1. 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 tone of the opening is light, and the music does most of the work in establishing the lightness. The bouncy tune makes us feel at ease and prepares us for comedy. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. ---They're almost like a Greek chorus, commenting on all they se
  2. 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? ​ ---Obviously the opening in a crowded, public place echoes the openings of The Pleasure Garden, The Lodger (somewhat), and The Man Who Knew Too Much. There are also elements of comedy in each scene. It deviates from the others by not really giving us much in the way of expository information, either visually or aurally. We don't really know who any of the characters (besides Mr. Memory) are just yet, and
  3. 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) ​ ---The characters are more important. By keeping the camera in a medium shot through most of the sequence, Hitchcock forces us to pay attention to who these people are and what they are saying to one another. We learn a great deal of information about many of them just in this short scene--a father and daughter whose mother is competing in another location nearby, an En
  4. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. ​ ---When Alice steps into the telephone booth, all other sounds go away, so we are hearing the silence (and the privacy) inside the box, just as she is. Then, when Alice is sitting at the table with her parents, we are placed in her mind subjectively as she fixates on the word "knife." The cut from a medium shot to a close up on Alice's face helps us to understand that we are now with Alice mentally and that the word "knife" is the only thing on her mind (and in her
  5. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? ---The POV tracking shot of the boys walking toward the headmaster's desk felt like they were doomed men walking the plank; there was no way out of this punishment. The second POV tracking shot of the girl walking toward them gave me a sense that the boys were trapped by this situation. As the camera moves toward them, they are feeling the weight of this trouble; it presses in on them and keeps them without a way out. 2. Why do you think Hitchcock uses the technique of a P
  6. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? ---By cutting back and forth between the two rooms, Hitchcock is able to create an atmosphere of tension between the characters. The juxtaposition of shots in the wild party room with the seriousness of the other room adds ebbs and flows to the scene that make it easy to understand what is at stake. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the
  7. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? ​---Each film features the use of a subjective camera at different times during the sequences; in ​The Pleasure Garden​, we saw the chorus girls through the binoculars of the front row of men, and in The Lodger​ we see the busy city streets through the windshield of the newspaper truck. We are also given specific information in the form on close-ups on important pieces of paper. In ​The Pleasure Garden, ​we see the shady men outside the club steal
  8. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. ​ ---Yes, the "Hitchcock touch" is evident in this sequence from ​The Pleasure Garden​. The point-of-view shot through the binoculars brings to mind the binoculars of Jeff in Rear Window​ and the peeping Tom nature of the monocle-wearing man would be echoed years later by Norman Bates in Psycho​. Putting us in his seat up front make us just as voyeuristic as the leering men. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains element
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