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ckusama

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About ckusama

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  1. I never liked musicals but now I look forward to seeing many more. Thank you so much, Dr. Ament and Dr. Edwards for another fantastic Ball St/TCM course! I started with Hitchcock and regret terribly I did not take the noir class as this is my favorite genre! I learned so much about film history and about the culture each decade these films were made. Fascinating. I hope to learn more and more since I was a film major in college!
  2. Hi! I'm Carol Kusama and musicals have never been my favorite genre but I keep seeing several over and over again! I love "American in Paris" and "My Fair Lady". Talk about eclectic, I love "Jesus Christ, Superstar" - that is a rock opera but I love it and have the words memorized! I love old movies including musicals! Busby Berkley spectaculars, Fred Astaire, Judy Garland - you name it, I've seen it.
  3. I'm surprised no one has mentioned adventure films like Captain Blood or any Douglas Fairbanks film? Aren't there enough for a class or is this the stepchild of movie making? I noticed in the book "The Essentials" 52 Must-See Movies" that not one adventure film was in it. Are they just trivial? I love to see Robin Hood or Sea Hawk! Errol Flynn is one of my favorites. Just fun movies. No respect!
  4. How about "Foul Play"? Another parody of Hitchcock. I watch so many TCM movies that it's hard to process what I've seen. There's so many! I learned so much during this course and it will take a long time before I go into a crowded event and not think "Oh! Something could happen here.....!" "Hitchcock would love this venue!" The Third Man by Orson Welles. Dark, suspense. Wonderful
  5. After watching all the Hitchcock films on TCM and listening to your input on the movies, I'm very anxious to see "78/52". Where will we have a chance to see your film and could you give us a time frame on when we can? Really looking forward to it. Have enjoyed all your input and I feel I know Hitchcock as a filmmaker so well now! Thank you so much for all the sharing of your knowledge!
  6. How does the opening of Frenzy differ from the opening of The Lodger? Lodger opens with a scream - this movie opens with a grandiose anthem that sure sounds British and we are swept into a crowd of people listening to a politician speaking about pollution in the water and how it will be all cleaned up when someone yells "Look!" and it is the body of a blonde in the water. Lodger opened with chaos and just kept going - very different. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. As mentioned, the humor that a man is speaking of ending poll
  7. 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. This is a woman that knows what she's doing. She's been shopping for a whole new wardrobe and is getting ready to travel. She washes out that black hair and we get a close up of that face! She looks radiant and in charge. She meticulously packs one bag and and carelessly throws things in another. She finds the ID she intends to use next. Is it her real name? We don't know yet.....The $$ she dumps int
  8. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? The music and the graphics are staccato and slashing which puts the viewer in an anxious frame of mind from the start. A person watching knows this will not be a walk in the park! 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
  9. 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. These were both big Hollywood stars so the audience is used to the sexy banter that Cary Grant takes part in a lot of times in his prior movies. Also, the female reaction to him is predictable too and Eva Marie Saint certainly has the class to pull of the role of a seductress. They both are such classy actors that this kind of repartee
  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? The opening is definitely Hitchcokian to me. The camera dollies to an ultra closeup of Carole's eye, for instance. The reveal of the room also is reminiscent of other films of Hitchcock. The music supports a rather light mood and the room is brightly lit to show the room in disarray. It looks like this couple lives a life of leisure and neither mind a m
  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. Uncle Charlie is deep in thought with money strewn all over his bedside table and floor which begins to make you feel he's done something not legitimate. When the landlady comes in to tell him about his visitors, he's cool as a cucumber and even toys with her when he explains he doesn't know the men. When he looks out the window he gets mad and you hear an arrogance of a wanted man that says "they don't have anything on my an
  12. 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? In many of the openings we've seen in Hitchcock's prior films, we are drawn in immediately into the fast paced action. This is a slower paced, richer feeling opening that languishes more than propels you. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? The camera tracking shots are long edits. The music makes the viewer feel somewhat ominous as does the decayed trail to the
  13. 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 opening seems cozy with folk music playing in the background. It's only when the door is opened that the viewer senses chaos. When the innkeeper is focused on initially, one senses his anxiety and stress - especially when he starts announcing in the different languages and people storm the front desk. Discuss the characters of Caldicott and Charters in this scene. What do
  14. 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? The opening of this film is in a public place, same as Pleasure Garden and The Man Who Knew Too Much. The mysterious introduction of Donat's character turns out to be quite innocuous, unlike the introduction of other characters like The Man Who Knew Too Much or the introduction to the murder of the girl in the Lodger. The panning of the Music Hall sign reminds me of the panning of "Golden Girls Tonight" of the L
  15. 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 haven't seen the film yet but cannot wait to! From the beginning, one may think the characters are more important but I can see where a plot may overtake them maybe! 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? Peter Lorre "brushes off" being mowed down by the crowd
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