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Jennifer Anne

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Everything posted by Jennifer Anne

  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
  7. 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? This opening shot speaks directly to the viewer--it's as if we are at Jeff's side while he sleeps and have opened the blinds in order to take in our surroundings. We not only get to see what Jeff sees but are made complicit in his voyeurism. In essence, the story--and its questionable voyeurism--begins with the audience and not with James Stewart. 2
  8. 1. The single criss-cross or "X" implies a meeting and then a separation; a criss-cross pattern guarantees that this meeting and separation will continuously recur. In this opening sequence, the cross-crossing pattern is manifest in the tile floors inside the station, in the train tracks themselves, and by the seemingly accidental meeting of the two characters as they both cross their legs. The rhombus, however, is a more defined shape: equal sides and opposite parallels that, when bisected, form a cross pattern. The rhombus sets up both characters as being equal yet opposite--the existen
  9. 1. What Hitchcock "touches" do you see in this early scene from the movie? Definitely the creativity with the POV shots showing Grant from Bergman's perspective as he menacingly approaches her in bed. Grant is shot full-figure to look darker and more menacing, reminiscent of the Novello sequence in Downhill. These angles serve to bring the viewer into the mind of Ingrid Bergman's character, heightening emotion. The use of the record player to fill in background details of Bergman's character was innovative as well; instead of music, we get to watch Bergman react to the sound of her own voice e
  10. 1. What stood out the most to me was the playfulness with which Hitchcock keeps the audience guessing as to what is going on in the scene. it reminded me of Downhill, after Ivor Novello's character leaves home and begins working. Hitchcock introduces us to Novello's new profession through a series of close-up shots (Is he at a party? Is he a waiter?) followed by a pan out to a wider shot revealing him to be an actor playing a waiter on stage. Similarly, In Mr. and Mrs. Smith, we begin with a close-up of dirty dishes (Are they leftovers from a party? A banquet?). As the camera pans around the
  11. 1. -He is careless with his money as we see large amounts lying on the table and floor of a public boarding house; -He cares about his appearance--his tailored suit fits perfectly and is pressed even after lying down; -He has a temper (smashes glass in frustration over the police being outside); -He has no respect for the law, believing himself smarter than the two detectives following him (he brazenly walks past them instead of hiding; also by his words "What do you know. You're bluffing. You've got nothing on me."); -He seems to make unnecessary trouble for himself. He easily confe
  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? It is comprised of longer, sweeping shots that are not lively or cutting rapidly from one to the other; it does not take place in a public location but in private the mind of the narrator (even in the dream it's a private and gated residential space); when cutting to the south of France the crashing of the waves and the isolated image of Olivier atop the cliff continue this dreamlike, ethereal state and increase the suspense. There are al
  13. 1. The music has a whimsical feel--it made me think of a merry-go-round or an amusement park--with bird-like notes and 3/4 time of a waltz; it works with the caged bird and the cuckoo clock to set a humorous tone to a scene that is quite lively and chaotic. 2. I absolutely love these 2 characters. They are a send-up of the quintessential British tourist couple--believing themselves to be more worldly, sophisticated, and important than they actually are. I laughed out loud at the image of both of them standing for the duration of the Hungarian Rhapsody, thinking it to be the Hungarian natio
  14. 1. Similar public setting, emphasis on text (signage) and on watching and being watched, lively music, and playful POV shots. In The 39 Steps, however, the identification with one main character (Donat) is more streamlined. We literally follow in his footsteps and establish a relationship with him that will carry throughout the picture. 2. I agree to a certain extent. It's as if Hitchcock is having fun with us in this opening clip and asking us to figure out if Donat is good or evil. He begins with more sinister elements (the first we see of Donat is his ominous shadow being cast across the t
  15. 1. I believe the characters are going to be more important. Time has been taken to establish relationships ("Uncle" Louis, father and daughter, a questionable history between Louis and Abbott) but also the quirkiness of their characters. For example, the daughter, as Wes remarked in the video, is annoying and used to getting her own way with her father; plus she doesn't seem that sorry for causing a near-catastrophe and ruining Louis's competition! Very little has been offered in terms of the plot; just a sense of unease due to the accident and Peter Lorre's shocked expression. 2. Unlike o
  16. 1. When Alice enters the phone booth the sound of the chatting patron is abruptly cut off. This silence is similar to the experience of being in a phone booth, to which most viewers can relate. There is no distracting chatter and Alice can seemingly focus on her problem with the murder. However, we also hear nothing as she rustles through the pages of the phone book, which is a surprise and, I would argue, conveys just how much of the outside world Alice has shut out due to her being hyper-focused and fearful. The lack of sound also suggests how isolated she is from the other characters due to
  17. 1. You feel as though the walls are closing in on you, that something is happening you are powerless to stop. There is also a sense of judgement--as if the camera is an accusatory pointing finger. The motion of the tracking shot also sets up a dichotomy--as the viewer you feel it brings an understanding of what the two men are feeling (it literally moves you towards a greater physical intimacy with them) while simultaneously taking on the POV of the "accuser". The latter is reinforced by the woman's POV tracking shot which moves her towards the two men whose backs are facing the camera. 2.
  18. 1. I need to learn more about montage and expressive editing, so I can only give my initial impressions. There are a lot of wide shots showing the entire party room followed quickly by closer shots of the dancing girls, the wife and rival, and the piano player. Towards the end of the clip the party is increasing in intensity as the record plays, a trio strums away on instruments, and more women begin dancing--again through wide shots juxtaposed with closer ones; only this time the cuts are faster, a little more frenzied. 2. I really enjoyed the way in which the images were blurred and elon
  19. 1. Similarities to The Pleasure Garden: fast-paced cutting to different points of view right off the top creates a sense of excitement; there is humorous character sketching with the secondary actors (the man who covers his face to imitate the killer for example). Differences: the woman's profession (as a dancer?) is only alluded to by connecting her scream and dead body to the flashing neon sign "To-night Golden Curls"; The Pleasure Garden takes us into the theatre. Also, text in The Lodger unfolds the story within the film instead of in title cards--there are only 2 title cards. 2. Voyeu
  20. I want to see more of The Pleasure Garden! 1. I have seen many Hitchcock films but have never analyzed them in an academic manner so bear with me. I don't know what film historians define as the "Hitchcock Touch" but I always associate it with an awareness of the presence of the camera in his films, and also with a dark sense of humour that grounds the narrative in reality, usually in the most bizarre of circumstances. The Pleasure Garden always seems to keep you guessing Hitchcock's intent and offers up little visual surprises that make you aware of the camera: after the women descend the
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