Lemke10

1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The beginning of the scene has the boxer contemplating his future and we slowly descend into his inner thoughts of leaving his wife, his future, and thinking about her falling in love with another man while he is gone. Slowly the thoughts turn from a reasonable thought to an over the top obsession of montage with his fear of his wife leaving him. Hitchcock uses this montage to get a deeper look at the boxers hidden fears visually rather than in words. 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 initial shot of the boxer looking into the mirror as the others are having a party is a little subjective at the time of if it is a scene of reality or imagination only to later learn it is a scene of reality. The use of overlaying film within the scene creates a chaotic montage that we know know is a scene of imagination that is inside the boxer's head and not that of reality. 3. How does Hitchcock stage the action, use set design, and editing techniques to increase the stakes in the rivalry between the two gentlemen? The use of overlay of the film shows us the jealousy of our main character given his distance to the other gentleman, the looks he has in the scene and how the scene of the couple laughing is overlaid with everything the boxer sees. As the scene get more and more abstract we are then jolted back into reality as the boxer walks into the room the part is being held.

Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? Again there is the hustle and bustle of people in their busy day from dancing girls to newspaper men. There are contrasting personalities on screen from serious, to easy going, to very jovial. The Pleasure Garden has more of a traditional, natural flow to the way the scenes are connected compared to the opening of The Lodger which has more fast cutaways to speed up the emotion of the viewer, gripping you and taking you into the suspense. 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? Obviously you already have the plot of the film being a crime has been committed but then he adds in the suspense as the details are emerged from the eyewitness describing them and eventually the details are slowly revealed as they are typed up slowly revealing the crime. The stylistic title opening is also very much in the Hickcock style. Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? If you call that a "Dutch Angle Shot" it stands out as that is the only shot like that in the first 5 minutes. It's an unsettling angle that draws you in and says pay extra attention heightening the shot importance. Right away it reminds me of Janet Leigh's shower scream from Psycho the most but it also has a bit of Vera Miles scream later in the same film.

1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Yes, as the scene opens there are people moving frantically about as seen in many of his openings. The theme of voyeurism is there right away as we peek down on the dancing girls from above and focus on the legs of the "Hitchcock blonde" with binoculars reminiscent of "Rear Window". There is a strong, flirty leading lady that is strong, sensual, yet not completely safe in her surroundings. The theme of crime is there well as her purse is pick-pocketed. 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? When looking for the "Hitchcock touches" I definitely agree that this sequence lays the foundation for the approach Hitchcock will lay out his films for decades to come. 3. Since this is a silent film, do you feel there were any limitations on these opening scenes due to the lack of synchronous spoken dialogue? There are perhaps a few technological elements with camera movement and lenses that limited the scene but not the spoken words. In some ways the physical movements surpass the spoken words. Instead of hearing the sensual delivery from the Hitchcock blonde as she interacts with the male we observe the flirtatious nature of that encounter and don't need spoken words to understand.