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Jennifer Anne

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  1. 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. The opening of Frenzy gives us London on an enormous scale through a sweeping aerial shot over the Thames that is matched by the grandeur of the score. The positively regal approach of the camera to the Tower Bridge made me feel as though I were watching the overture to an opera from a position of privilege--enjoying a view of London very few are able to see. The bright light of day, clear colours and travelogue-like imagery was the complet
  2. 1. We learn that Marnie carries herself in a very self-assured manner, and knows exactly what she is doing when it comes to changing her identity. She has evidently done this before because she is very calm and deliberate in her actions, seems to be in no hurry or panic. It's as if she is packing for a business trip in a routine manner. Her interaction with the two suitcases represents this change: the "discarded" identity is signified by the grey suitcase into which used clothes are thrown in a messy jumble; the new identity of the pink suitcase is neatly packed with brand-new items and prime
  3. 1. The opening sequence is lighthearted; I expected to hear playful or even mischievous music as I watched Hedren crossing the street and entering the pet shop. Hedren and Taylor's relationship begins with a standard romantic comedy "meet cute", complete with a mistaken identity and playful dialogue. The location of the scene--a pet store in San Francisco--plus the seemingly benign errand both stars are engaging in--purchasing birds--is also charming. We learn that Melanie has purchased a rare exotic bird, yet seems to know nothing about birds in general; she finds Mitch attractive and fli
  4. 1. The music has a steady hum which suggests a constant motion--that of a car driving on a long journey, or the inner workings of an anxious mind. The linear graphics work well to visualize this motion and also mimic the strings of the violin, so prominent in Hermann's score. Together, the music and graphics create an anxious atmosphere often disrupted by a rattling bass or piercing high notes, leading us to experience our fear of the unexpected. The graphic lines crack and fracture text in a visualization of Bates' psychological break. 2. Mid-afternoon on a Friday fairly close to Christma
  5. 1. I have always felt that Eva Marie Saint is behaving like every person wishes they could if "accidentally" seated opposite Cary Grant. Oh to be that confident at 26. In all seriousness though, Hitchcock seems to be letting us "eavesdrop" on what we, the viewers, may imagine would happen if two of the biggest male and female movie stars of the time wound up bored on a train. Saint's aggressive, forthright manner is a subversion of how we would expect a conventional 1950s woman to act in this situation, but as a glamourous movie star we are accepting of her behaviour. That Grant begins wearing
  6. 1. The atmosphere established is eerie and evocative of a journey through the unknown. The camera takes us on this journey, beginning with the visible means of sensual perception--eye and mouth--and slowly works its way inward through the pupil of the eye to the intangible subjective world of the mind as expressed through mutating graphics. The music echoes the motion of the spiral and it is the shape of the eye from which all patterns emerge. 2. Definitely the close-up of Novak's eye with the the graphic spiral seemingly emerging from her pupil. It is a visual manifestation of "the mind
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