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Seth Metoyer

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Everything posted by Seth Metoyer

  1. It's probably been mentioned but I always think of the final sequence in Se7en where we have dirt roads and empty fields with a high POV shot similar to the bus/crop duster scene in North By Northwest. There are obviously so many more but that one always hits my brain first.
  2. Gone Girl for sure and Se7en most definitely is Hitch influenced. Think of the final sequence on the dirt road in an open field from a high POV shot.
  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. Instead of jumping immediately to the action of a screaming woman like in The Lodger, it takes us a while to get to the scene where the people point out the dead body floating in the river. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. Common touches in the opening sequence are the familiar title sequence, score and putting us into the position as viewers who are going to be introd
  4. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? We know that she's in hiding, she's a thief and she has a dark side. She's on the run, has many different social security cards. She's a beautiful lady and you wonder if she does this because she enjoys pulling a fast one on people and deceiving them or if there's a deeper reason for these actions. In what ways does Hitchcock visually reveal her character through her interaction with objects. How does Hitchcock use Bernard Herrmann's score in this scene? We are shown that she is in disgui
  5. "Sure The Birds was a fantasy." - Hitchcock "But it had such a tremendous air of reality to it, nevertheless." - Interviewer "Ah, but so do nightmares." - Hitchcock 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 opening scene is completely a romantic comedy. We have the beautiful girl Melanie crossing the street in high heels. We have a cat call from a passerby, she even stops to turn around and give a smile. Once Mitch comes i
  6. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film? The graphic design plays with the ideas of non uniformity. The credits are split, disjointed and irritated. I also like to think of them being sliced through with a knife. The music adds to the anxiety and ominousness of the opening title sequence. Then once we get to the Hitchcock director credit, the horizontal dismantling of the credits becomes a
  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 immediately creates an atmosphere of sex, romance and intrigue. Grant of course was seen as a suave Hollywood playboy so it fit right in with the character. There is minimal action in this scene, so any deviation from the overall pattern of focusing on the faces of the two leads will have increased significance. In that sense, di
  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. I have such a fascination with the title sequence from Saul Bass because of my history in Graphic Design and Art Direction. The first image, a close up of a women's face hits stride with the eerie sounds that begin the segment. There's tension in the face, and as th
  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? The shot opens with a viewer POV shot. The audience is being shown the layout of the room. We also know that this is Jeff's vantage point since it appears to be his apartment. So we are essentially Jeff. What do we learn about Jeff in this scene without any pertinent lines of dialogue (other than what is written on Jeff’s leg cast)? How does Hitchcock give
  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. From the first exits out of the cabs. One from one direction the other from another direction. One wearing white top shoes and a lighter suit and another wearing dark shoes and dark suit. Train tracks criss crossing, converging. 2 people entering the train seats on different sides
  11. Good observation here: "scenes where their character is "out of sorts" to one degree or another -- like Janet Leigh lying on the bathroom floor as a corpse in Psycho or Carole Lombard lying in bed under the blankets in the beginning of Mr. and Mrs. Smith."
  12. What Hitchcock "touches" do you see in this early scene from the movie? I love the "touch" right from the start where we are seeing so much detail to the set design. We see Alicia laying in bed, room is a disaster, it's obvious she's had a long night of drinking. We get the close up on her beautiful face. Then we get a brilliant upside down camera angle and movement, as we saw in an earlier shot sequence in Downhill (as the professor pointed out in today's lecture). How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that H
  13. 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 slow panning of the room and then the eventual up close focus on Carol Lombard's face are Hitch "touches". The visuals and set design show us the couple has been in the room for at least a few days, shutting themselves away. Dirty dishes and alcohol bottles on the floor. Do you agree or disagree with the following statement: the opening sequence
  14. 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. We learn that Uncle Charlie is hiding out/on the lamb (presumably). He's rich, has a nice suit and cigar. Laying in his bead he doesn't seem to care much about the current place he is in life. Resigned to dying. Waiting for death. His demeanor is nonchalant, like he's mentally checked out. Money is on the floor. He's been drinking. We find out people are looking for him, left, but are standing on the corner. Then all of a s
  15. 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 different because we open with less action/grab than the other films. It's a voice over with a shot of a the moon then a gate as we begin to travel up the road. The other films opened with a screaming lady or in a public setting. The previous films hit the road running where this one opens slower. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? The Hitch
  16. 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. The opening scene puts us right in the middle of a group of people sitting on chairs. Then we see a giddy lady coming down the stairs, the music happy and uplifting. Things seem hectic, and people of course are having to wait because there's been an avalanche (or "auv-a-launch"). I like that the scene was constructed to have a sense of buzzing activity without it seeming t
  17. 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? It matches from a pacing standpoint. All his films take off almost immediately with a fast pace. It deviates mostly because it's a intro to a spy film and not a thriller or comedy. 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 think the main character seems nor
  18. 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) That's a hard one. It feels mostly like we are going to be focused more on the characters but there is some part of me interested in the plot since the meeting of Abbott makes me want to see what is about to unfold. 2. 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
  19. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. The first effective scene that this occurred to me was when she stepped into the phone booth. Of course outside sounds would be lower or muted a bit but I think Hitch purposefully muted the outside sound of people chatting completely in order to drive home how focused we are on Alice and how focused her mind is on what she’s thinking. Next we get to hear the words “Knife, Knife, Knife” which seem to be in her head (even though the gossiper keeps saying the word
  20. Gppd Good point about yet another innocent person being accused of something horrific. I also like how you pointed out the Headmaster was looking at their shoes. I missed that. Also, definitely a motif of pretty women in his films...and to me, they often seem at least subtly promiscuous.
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