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Rebecca in NYC

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  1. I might be going out on a limb here, but in my view, one of the best creative teams these days is in TV (not film). I'm referring to everyone involved in bringing Breaking Bad (and Better Call Saul) to the small screen. I can see Hitchcock collaborating with Vince Gilligan b/c he shares his interest in dark characters, his ability to beautifully showcase landscapes (New Mexico) and his ability to create truly believable anti-heros (Walter White). I would argue that Norman Bates is something of an anti-hero. Wes Gehring (sp?) touched on this when, in discussing Psycho, he pointed ou
  2. 1. 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. Marnie is either confused herself, and/or trying to confuse others, with who she is. The different IDs is the most obvious supporting evidence of this. But I really like the use of two suitcases: one is packed very tidily whereas the other has belongings tossed in, nothing folded or much cared for. I believe it is the tidy Marnie, the fastidious version of her that’s at the train station.
  3. 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? The most obvious answer is the flirtation between Melanie and Mitch in the pet store, as Melanie pretends to work there. It is very suggestive and flirtatious, far from scary. We learn that Melanie is highbrow and upper crust. Who can walk so elegantly in stilettos and a superbly tailored suit across a busy street in a major city? And what about that fabulous handbag? I can never st
  4. 1. 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 score is irritating; it grates on your nerves. The graphic design – lines going sideways and then lines going up and down – to me, create confusion. The opening leaves me in a hyper state of sorts; I find I want the music to STOP (which I’m sure is intentional). This introduces the idea of Norman’s confusion about his sexual/gender id
  5. It’s very late and I’ve had a long day, but instead of going to bed I’m posting my reaction to the title design sequence for Vertigo. This is a compliment to your wonderful course, Prof. Edwards! 1. Describe what you think this film will be about simply from the sounds and images in these opening credits. Even if you have seen the film, try to focus on these sounds and images themselves and “the story” (or if not "the story," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. I think the film is about mental illness if I’m focusing solely
  6. 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? The opening camera shot is luring us towards the window, luring us to look out and see the outside world from our safe space indoors. It’s as Hitchcock himself said, that none of us can resist the temptation of looking out at our neighbors, that few of us look away and resist by asserting other people’s lives are none of our business. As you know f
  7. LawrenceA - Hitchcock is the Master of Suspense, and you are the Master of "How to Change Your Profile Picture on the TCM Message Board"! Thanks!!
  8. 1. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific. I’m taking creative license with this question. In lieu of answering “how many”, I’m going to comment on one of the first things to actually cross (touch, really), and one of my personal favorite things in the opening scene – the shoes. There are many striking differences be
  9. 1. 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. The money haphazardly lying about suggests he is on the run, and yet he is very casually smoking a cigar and appears to be very calm. When the Mrs. Martin comments about “not having much trouble that way”, meaning HONESTY, he looks down almost in shame. You know he’s far from honest. When he tells Mrs. Martin he may go down and meet them in person, or he may not, he conveys he wants to remain in control of whatever i
  10. 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? This opening scene differs greatly; it isn’t as frenetic, action packed or scary. Instead, it is mellow, intriguing and has a lot more images and fewer people. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? Possibly the camera angle leading up to our first glance at Laurence Olivier on the cliff. The sense of dread upon seeing the immediate drop to the o
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