MiriamFigueras

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? I would say there are similarities like the blonde character and a certain feeling that something ominous is lurking but I believe I find more differences between them. The Lodger has a faster pace, editing and visual impact. Characters are presented more dramatically whereas in The Pleasure Garden there was this atmosphere of dead calm in which an ordinary person falls prey of unexpected events. You can really identify the German and Soviet influence in the The Lodger which I believe was absent in The Pleasure Garden. 2. Identify elements of the "Hitchcock style" in this sequence? Please provide specific examples. Even if you are not sure if it is the "Hitchcock style," what images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of emotion? - The blonde character, as I mentioned. - The constant emphasis of the tone and message he wants the audience to capture such as all those visual reinforcements like the MURDER animated sign. - Compelling use of close-ups in murder scenes like the first image of the girl screaming. It reminded me of Rope's initial frames. 3. Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? As I just mentioned, Rope comes to mind immediately and possibly Psycho, as well.

1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. I believe I do see a few examples of his absolute command of the intricacy of human perception and the use of visual image distortions to give audiences the same sensory experience as though they could be in the movie themselves. Like the first scene with the blurry image before it becomes clear with the field glasses. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? Indeed, it contains elements and resources we would later perfect throughout his filmography. The perception, I mentioned before and a sense of voyeurism that he would later use. 3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue? I don't really think that the absence of continuous dialogue limits this film, on the contrary, as I heard Hitchcock himself explaining on an interview, he did try to tell always the whole story visually and refrain from using dialogue to explain one situation. He always wanted the audience to figure it out and to feel it, sometimes when the real characters wouldn't even be aware of what was happening. Nevertheless, I do feel that he has to use exaggerated gimmicks to get the effects he wants, like when he highlights the purse that the men would steal from. I think that as technology improved, he could use better camera angles and shots.