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melissasimock

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Everything posted by melissasimock

  1. Hmmmm. I <3 Grantchester. I hadn't thought about Hitchcock when I watched this show. But I will definitely keep it in mind for my second viewing!
  2. My favourite homage to Hitchcock, is episode #16 "Mr. Yin Presents" (season finale) of PSYCH, season 4. Directed by James Roday. It is hands down, the best episode of the entire 8 seasons of the show. Here are a few snippets to wet your appetite: Psych Catch Up - James Roday "Mr. Yin Presents" Intro SEASON FINALE of Psych on USA Network - "Mr. Yin Presents" 3/10 Promo Scene from the SEASON FINALE of Psych on USA Network - "Mr. Yin Presents" 3/10 Scene #2 from SEASON FINALE of Psych on USA Network - "Mr. Yin Presents" 3/10 Scene #3 from the SEASON FINALE of Psy
  3. 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 Lodger starts with a face close up, and then goes to the dead body. Frenzy starts with a far away view of the city, slowly getting closer tot he people, and eventually gets to the dead body. The Lodger starts with the killing, where Frenzy lets you get comfortable first. We don't immediately know what we're in for. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. We're in a loca
  4. 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. We know she uses multiple identities, by the number of SS cards she has. We know she changes her appearance, we can assume with her identity, as she goes for quick changes. (Fyi, that black dye would never rinse out like that, leaving bright blonde.) She has expensive taste. We know she's leaving one life behind. She tosses her old clothes into the suitcase she leaves at the station, and she
  5. 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? We see the symbolism of 'couples', and reference to love birds. We witness the flirtation between to people who just met, and are attracted to one another. Other than not being able to escape the bird sounds, the scene has a lighter feel to it. Melanie is looking for a companion. Mitch has a sister who is much younger than he is, and he cares for her. Mitch is also knowledgable of b
  6. 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? You know there is going to be some intensity in this film. You will be on the edge of your seat. There will be tense and anxious moments. There is brokenness to these characters. 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.”
  7. 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. They are both beautiful, talented, Hollywood stars. Cary has a reputation for being sexy, charming, suave. From Eva's TCM interview, she admits to being attracted to Cary. In the scene Eva's character is the one who goes after Cary. Both being big Hollywood stars, they have similar clout. In real world Hollywood it wouldn't be
  8. 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. From this sequence, it appears to be about a woman, and the inner workings of her mind. Turmoil. Things may not be as they appear to be. There is a definite sense of unease. This scene also gives me the feeling that time is fluid here. In your own est
  9. 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? He's seeking to establish the environment where the story will take place, the characters of the story, our point of view for the story, and helps us to feel what it is like to be living there. He also lets us know what time of year it is, thru the temperature and open windows. The viewers vantage point. We are as much a voyeur in this as Jeff is.
  10. 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. One has all black shoes. The other mostly stark white shoes, with black trim. They are each shown walking across the frame in different directions. The criss crossing of the railroad tracks. On the train they each approach their seats form different directions. And sit on opp
  11. What Hitchcock "touches" do you see in this early scene from the movie? Ingrid Bergman viewing Cary Grant from an upside down perspective. The use of light and shadow. The close up of the record on the record player. How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? Cary coming out of the shadows, gives you the feeling there's something sinister about him. They both have close-ups, in individual fr
  12. 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? In this opening scene we learn the couple has been in the room, or at least the room hasn't been cleaned, for a few days due to the stacks of dirty dished lying around. We know something isn't right between them, because he's been sleeping on the couch and she's been on the bed. He also shivers when he looks at her. Yet we know it's not a danger
  13. 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. ​​ He's living in a boarding house. Two men are following him. He is preoccupied with what is going on in his life,. So much so that he lets lots money lay all over and doesn't care that the landlady sees it. And just lays on the bed, lost in thought. He's done something he shouldn't have/ feels guilty about something - he says "You have nothing on me." In what ways does this opening remind you of watching a fi
  14. 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's much mellower. Only two characters, and in a desolate place. There are no frantic movements or sounds. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? There is an element of suspense. You know something has happened there, and something has happened to the main character, but you don't know what yet. In this opening scene, Hitchcock even shows you the p
  15. 1. 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. He establishes a calm, light-hearted, and jovial atmosphere. The music gives you a sense that something comedic could happen at any moment. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this scene. They give us a little more insight into what is going on, and we get a look into the min
  16. 1. 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 main characters are in a crowd, they are in public places. In this opening scene I don't feel any threat yet. I don't knowingly have any info that something is wrong, or of what is going to unfold. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous opening sequences of his films? I would agree.
  17. 1. 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) My gut tells me the plot will be more important., based on Peter Lorre's character recognizes the skiier, but not letting on to anyone else. And the girl's reaction to her mother's clay pigeon competitor. She instinctually knows there is something wrong there. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect you
  18. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. When Alice goes into the phone booth, and closes the door, it's silent. You can no longer hear the chatting going on in the shop. When the woman starts talking about the knife, eventually the only word you hear audibly is 'knife'. It's what Alice is focused on. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, how does Hitchcock set up the shot where the knife flies out of Alice's h
  19. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? It helps you to get into the mind of the characters. Additionally you feel like you are a part of the story, moving thru the same space as the rest of the characters. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? He tends to like to give the viewers a look inside the characters' minds. It also breaks up the monotony of viewing everything as an outside onlooker. 3. What connections (visual
  20. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? He uses it to show the increase of the energy levels of each room, as they are paralleled. He uses it to show the inner thoughts of the main character, and his increasing anxiety. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock uses to create that feeling of subjectivity. The overlaying of the scene where his
  21. 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? The Lodger opening has a very different feel to me than The Pleasure Garden. But as per usual, there is a blonde! 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? I love the Murder sign! It immediately said Hitchcoc
  22. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Strong blonde woman, sensuality, both seeing characters and their points of view, that hint of comedy... yes, I see it. 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? I've not yet seen every film Hitchcock has done, but I can definitely see his style already. 3. Since this is a silent film, do you feel there were any limitations o
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