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BarbaraGrahamTucker

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  1. Instead of addressing the questions, this will just make some comments. What I am getting from these clips is a wicked sense of irony in Hitchcock. Show one thing, mean another. Say one thing, show another. Juxtaposed images. Beautiful regal music over a polluted river. Politicians saying we are going to clean up the river, dead body floating naked. This is not just a technique or motif in this film, but in others. In The Birds opener, Tippi Hedren goes into a shop of caged birds after she has looked at a skyful of wild, menacing, unexplainable, and uncontrolled birds. Janet Leigh in Psy
  2. . She wants to acquire objects and the power they give her to create new selves or identities. She is dishonest and clever about it, successful at beating the system (how did she get four different Social Security cards, the money). She can discard items even though she needs them for her rues. She buys (steals) the best. She wants to live high class and will do what it takes. I would guess that she interacts with objects better than people. How does Hitchcock use Bernard Herrmann's score in this scene? It gives a sophisticated feel. The cameos are sometimes cute but they get anno
  3. 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? It’s very bare, black and white, primeval, shocking. Nothing good is going to come of this. No happy ending. Reminds me of Stravinsky’s Rite of Spring which has similar feel and theme as Psycho. 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-THR
  4. Cary Grant was the epitome of Mr. Suave. He is quoted as saying, “I wish I were Cary Grant” because it was a part he played, not his reality. However, here she is in control. She has manipulated the meeting, she knows all about him, he can’t hide, she makes the passes. So it’s a turnabout for subtle laughs, plus no doubt what she wants sooner or later. Of course, she’s lying to him as well and playing a part, just like he is trying to play a part of not being Thornhill. Some levels of irony. Fire is the metaphor. He lights it, she puts it out. She is fluid and gentle but is movi
  5. 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. Those images pretty much state that this will be an unsettling film about mental conditions or mental anguish or something along that lines. Who is that woman at the beginning? She’s not one of the stars, so her random anonymity is fascinating from the beginning. T
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