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About jfedelchak

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  1. I too, have enjoyed this on-line class immensely. I've been a Hitchcock fan for as long as I can remember, from the early days of watching films with my folks on TV (my mom especially liked Hitch) to the many times I've re-watched his movies to relive those golden days and recapture his brilliance. It is my first class with TCM & Ball State and I hope I can continue with others. I am sorry I missed the earlier classes on Slap-stick and Film Noir, I regret not having participated sooner. Thank you Professors Edwards & Gehrig for such an enjoyable and informative experience, I especi
  2. Turning my attention to television shows with a Hitchcock motif, I have four: 1. Thriller , Boris Karloff hosted this weekly anthology horror/suspense/mystery show. Maybe capitalizing on Hitch's own TV show, it had many good episode of suspense. I loved watching it in summer re-runs as a boy. 2. Columbo (1971-2003), Peter Falk in the lead role as Lt. Columbo, had a Hitchcock-ian suspense element to it, since you always knew up front who did it, the suspense was in the chase to see how Columbo would figure it out and bring his party to justice. 3. Twin Peaks (1990-91), David Lyn
  3. All through his career, Hitchcock and his production teams have always been at the leading edge of creative techniques and performance ability, ... but has there ever been a shot, scene, stunt, (or even a movie) that Hitch just could not accomplish, because it was deemed too technically complicated, risky, dangerous, expensive, or just impractical give the current limits of time, budget, technology, or expertice being unavailable or impractical?
  4. 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 two opening are night and day different, both figuratively and literally, for The Lodger opens at night with a woman screaming before she is killed, then the scene of the witness relaying her account of the crime to the police, followed by the rapid response of the press to get the story out to the public; a tense and disturbing beginning. In Frenzy, it opens in the bright sunny light of a beautiful day with a tranquil high sh
  5. I must be one of only a handful of film buffs who just doesn't like Vertigo. Released the year I was born, I have watched this film repeatedly over the decades and as I got older I did so with the intention of truly trying to discern why the film is "the best" of Hitchcock's efforts and why everyone loves it so, and to this day, I just cannot figure out why that is? Sure it has a terrific musical score and opening sequence that blend ever so well together. And sure it has wonderful stars and fantastic locations for filming (San Francisco will always be, in my heart, a star, ...but then I al
  6. I not certain I agree that this was Hitch suffering from "burn-out", but then again I'm biased, I like Marnie. It may not be the same high standards as his other more collaboratively successful efforts like Rear Window, North by Northwest, Psycho, The Birds, etc., but I believe Hitch was continue to try to reinvent himself or experiment with his art form. And he has chosen a most intriguing theme, the psychosis of the criminal and how one invokes the other, with Sean Connery, fresh from his James Bond role, acts as psychiatrist and narrator for the film to guide us through the murky waters of
  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. Marnie is a mystery, she transfers new clothes from store boxes to a suitcase and discards her old clothing to a separate suitcase, one she will eventually abandon in a train station locker, while disposing of the key in a sewer grate. She has multiple Social Security cards in different names hidden behind a compact's mirror and a bag full of cash. She also sheds a disguise, removing hair dy
  8. 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) through their interactions in this scene? The is the comedic Hitchcock making us feel at ease; the calm before the storm, to relax us before he springs his trap. Melanie and Mitch are flirting with one another using double entendre of "bird" chatter (the discussion of birds) as a thinly disguised way to talk about sex. A nice way to work around the sensors and give the audience a laugh. Killing two
  9. 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 title sequence both convey a feeling of frantic and chaotic pacing, a chase is to ensue, but who it the hunter and who is the prey? But as frantic as the opening feels there is also a systematic feel to the graphics, a series of parallel lines, to possibly indicate a pattern to the movie events to follow and that there are ma
  10. This, to me, seems to be done for Hitchcock's own amusement or as a challenge to himself. I'm not certain most audience members would make the connection (or even much care) of filming in long takes, and I agree the cuts seemed forced or artificial, but necessary to accomplish their objective. It may be fun to interpret these takes from a film historian, filmmaker or actor's point of view, but as an average movie goer it would seem a lost artifact of the movie. Fortunately it is a good story, well acted, so the experimental elements of the film can be overlooked or ignored completely a
  11. Has Tippi Hedren been mentioned? ... The Birds, Marnie one of my personal favorite Hitch Leading Ladies.
  12. 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 Thornhill/Grant line, "I look vaguely familiar.") How does our pre-existing knowledge of these stars function to create meaning in this scene. The scene begins with a double entendre, Hitch's joke that the audience can enjoy and participate in as well as the actors, to put everyone at ease and make the audience feel they are in the movie with the couple on screen. Since Grant is such a big star he is easily recognizable and it plays well with his characte
  13. I've had the same experience. I usually just give up after so many attempts.
  14. 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," then the mood and atmosphere they are establishing) that this sequence is communicating to the audience. ​The music is one of dizzying repartition and is critical extension of the title Vertigo. We start with a woman's face in extreme close-up, delving into he facial features, red lips, smooth skin and cheeks, and finally her piercing eyes searching
  15. 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 defines the "world" Hitchcock will invite us to observer for the duration of the film; it defines the boundaries of said world, our scope throughout the movie. It is a hot summer day in the city. It also it introduces us to some of the many characters that live in this world, whom we will witness and get to know. Th
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