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devin05

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  1. It would interesting to see Hitchcock work with composers like Danny Elfman Elmer and Hans Zimmer. Two composers with different styles but would fit in a thriller and already have. As far as directors that would be interesting matches with Hitchcock I would pick David Fincher Christopher Nolan and Michael Mann. I think Hitchcock would really appreciate Nolan’s use of time shifting. It's not something Hitchcock did (except as a montage) and he would find introducing something different into a movie intriguing. Could he introduce something into the beginning of movie that was out sequenc
  2. The Fugitive, innocent man accused, with a twist on the double chase, the marshall is chasing him, but Kimbel also is chasing his wife's murderers The Twilight Zone Cape Fear, the original and the remake by Scorsese. Really Hitchcock was a big influence on Scorsese, Even a movie like After Hours, dark humor, there is sense of loneliness and isolation in even a busy city like New York. Dr. Edwards of course mentioned, Brian DePalma. Body Double is a variation of Rear Window. The Usual Suspects Heat, Micheal Mann in general. Many of Nolan's movies. Following is film noir ish with voyeur
  3. 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 begins with a woman scream and the murder, then exposition, and the city in response, the media responding. This begins with a long aerial shot of the river with city framing the shot and then discovery of the body. In short, there isn't any response yet for murder. The music is more regal, a contrast with scores from movies like Psycho, Vertigo. What are some of the common Hitchcock touches that you see in this opening scene? B
  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. She's changing her identity. The social security cards, the hair. She But perhaps she can't accept her real idenity. She stole the money. She would like to lock the past away like the luggage she puts in the locker and tosses the key. How does Hitchcock use Bernard Herrmann's score in this scene? More great music from Herrmann. The strings are mysterious, mournful. We know she is tro
  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? What starts as a mistaken identity, he thinks he works at the store, becomes a witty flirtatious conversation. She must be intrigued so she plays along, he quickly realizes she is not with store, but continues, but she realizes he knows, but continues anyway. Thus they prolong the conversation. There are sexual innuendos. Love-birds that are affectionate, but not too affection. The ma
  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? The music and visual layer together reinforce a facturing. Norman's mind, Marion's life (hope I didn't spoil anything /s) The lines also foreshadow slashing. Bass' other title sequences were not as fast paced. Simple but the slashing lines are quick. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date
  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. It seems to be putting Cary Grant on his heels. Sunglasses trying to hide, looking around. But put the prospect of sex on the table, she initiates the direction, he returns to good old Cary. He lowers his guard quits hiding. He is willing to change his focus from looking out for people chasing him, to what is literally across th
  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. Psychological Thriller. The music with the strings creates a dizzyingly atmosphere, really a prototype for movies that have been more recent. (ok, looking up the title opening for Scorsese's Cape Fear for reference, I learn it was designed by.....Saul Bass, musi
  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? Exploration. That we are constrained to this one area, we haven't ventured outside of Jeff's room. We are the audience. In other movies, Hitchcock sometimes will establish that we are looking through the character's eyes, like in The Pleasure Garden or The Ring. In this manner, we are willing participants in Jeff's voyeurism later. Right now, it is innoc
  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. The two sets of feet are walking toward each Bruno's cab comes from the left to right, Bruno gets out and walks to the left, Guy gets out and walks to right. Always toward each other. There is a sense of destiny that the two will meet. A low angle following the tracks as the tr
  11. What Hitchcock "touches" do you see in this early scene from the movie? The use of objects, the glass (the "hangover" cure) in the foreground, a subtle foreshadowing of what really is happening to Alicia. Delvin emerging from the shadow to reveal his intention, seen from as angle, Alicia's perspective. More use of objects, the album that contradicts Alicia's contradiction of patriotism. As Alicia enters the shot in the door way, the frame surrounds her, our focus is clearly Alicia as the truth that she is patriotic even to oppose her father. The Delvin enters the shot and the focus share
  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? The first 1:30 or so is very silent film like. The story is told in the first 1:30 without dialogue. The completely messy room, the dishes everywhere, he's playing solataire, is he waiting for her to get up? She is faking sleep. The music is used only in the Smith's room. Do you agree or disagree with the following statement: the opening se
  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 is waiting or thinking, he probably has done some illegal things, the amount of money on the nightstand some carelessly on the floor. Cold calculating. Although not openly disrespectful, he is dismissive of Mrs. Martin. As we saw in the lecture, Uncle Charlie has a strong streak of misogyny. He can be quick to violent behavior. But when calm rational and confident. So confident he can make it a point walk past the
  14. 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 the opening for Rebecca, instead of using graphics or signage for exposition, we are immediately introduced to the character of the estate through narrative. While, as explained in the notes, this is probably due Selznick's demand to remain faithful to the novel, it is a difference that Hitchcock accommodates through realism. The camera has more movement and the exploration of the space between the gate and the house. Hitchcock has always
  15. 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? Hitchcock begins with a return to using signage or print for exposition (The Lodger. The Ring). We also begin as part of the audience viewing a show or being entertained (The Pleasure Garden, The Ring) What has changed from other openings, Hitchcock is in no hurry to introduce information. By the end of the clip, we have some information, he is visiting from Canada, he is a average common man, but we don't ev
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