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SNPF

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  1. Prof. Edwards In reverse order: Thank you for an interesting, enjoyable class. Now a day without a Hitchcock film has something missing (in a good way.) I watched F. W. Murnau's The Last Laugh available on DVD. If you do another Hitch class with TCM I strongly suggest Asking TCM to see if they can broadcast it. Really provides an insight into Hitchcock's inspiration and loyalty to an art form. Doesn't distract from giving The Master his due. Will you be repeating the course, how do I find out what & when future courses will be? And will Noir course be repeated? I wish I'd know
  2. I'm not sure if this is even a good movie but I really enjoyed it thanks to our discussions and class. (I know it doesn't rank up there with movies by Coppolla, DePalma, etc.) I was just amazed and pleased at the number of Hitchcock touches, themes, shots it referenced. Just discovering them throughout the movie was enough. It's currently available on Netflix: In The Shadow Of Iris (2016) http://www.imdb.com/title/tt5598110/ Oh, and of course there's always Stanley Donen's Charade, which does rank up there. Third times the charm, meaning I'll stop re-editing this adding as a
  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. Well, the most obvious difference is that Frenzy is filmed in color as opposed to The Lodger being in black and white. The Lodger’s opening begins in the single location set on a street Frenzy begins with an arial shot, flying down the Thames River allowing a leisurely view of London and the films titles. As others have pointed out, The Lodger begins with a woman screaming followed by cards repeating the words To-Night “Golden Curl
  4. 1. 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 in the process of changing from one identity to another. She is thorough in her approach, replacing clothing, changing the color of her hair, discarding and replacing previously worn clothing with new. She may have done something illegal indicated by the large amount of money she has dumped from her hand bag into a suitcase. Also she seems a bit arrogant as she appears to approve of h
  5. 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? Emphasizes typical Hollywood “cute” boy meets girl combined with references mirroring romantic meet of Grant and Saint in North By Northwest: Roger not aware that Eve knows who he is vs. Melanie not aware Mitch knows her identity Roger attempts to hide his identity vs. Melanie pretends to be a sales clerk Eve makes clear she desires Roger vs. Melanie being only annoyed by Mitch Eve reveals Rogers true identity vs. Mitch revealing who Melanie really is 1b. What
  6. 1. 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 combination of the score and titles have always represented the slashing from the shower scene to me, however that’s after watching the movie. Not going any further into the film than the titles the effect is a constant jarring sensation by making the viewer react to the staccato tempo of the music and trying to keep up with the constant ch
  7. "With the very recent passing of Martin Landau, I'm just wondering who's left among actor's appearing in movies from Hitch's "golden age."" Details, details. If I stretch "golden age" through the entire 50's and early 60's (IMNSHO Psycho and The Birds should be considered part of H's golden age): Laurinda Barrett Nehemiah Persoff Brigette Auber John Gavin
  8. 1. 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.") Till this question I’d never considered the idea this was an “in” joke playing off Grant’s and Saint’s fame as movie stars. I always thought of this as a way of Grant’s character referring to his notoriety from being pursued and an attempt on his part to determine wether Saint’s character recognizes him from newspapers as the UN killer. 1b. How does our pre-existing knowledge of these stars function to create meaning
  9. 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," the mood and atmosphere they are establishing) that this sequence is communicating to the audience. For me, the opening credits suggested the story would pull me into the psychological and perhaps spiritual processes of a woman’s mind. Saul Bass’s slow moving Lissajous Figures combined with Bernard Herrmanns lush hypnotic score as the Lissajous Figures spiral
  10. I have been playing Game Center: Nor-man : 1950s Hitchcock’s "All Star Production Team” for 15 minutes. I keep entering the same names over and over yet the game never ends or shows a completed icon. I had the same problem with a previous game but eventually it did end . Has any one else had this happen?
  11. Daily Dose #14: Here Lie the Broken Bones of L.B. Jefferies Opening Scene of Rear Window (1954) 1. How would you describe the opening camera shot of this film? The raising of curtains in an apartment mirrors the raising of a curtain for play. From there we go to a tour of the tenants having a normal day. Finally we are in Stewarts apartment being shown various objects that informs us of Stewart’s physical condition, occupation and boredom. 1b. What is Hitchcock seeking to establish in this single shot that opens the film? This establishes Stewarts character and our POV for t
  12. Daily Dose #13: Criss Cross Opening Scene from Hitchcock's Strangers on a Train (1951) 1. 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. This question reminds me of those illustrations where the viewer is asked how many animals can be found? It also brings to mind the “X” direction for scenes where many extras are feature
  13. 1. What Hitchcock "touches" do you see in this early scene from the movie? Ingrid’s spinning pov shot as Cary walks towards her. The glass of liquid glowing similar to the illuminated glass of milk in Suspicion. LP vinyl record spinning Attention drawn to Cary by having him framed in doorway lit from behind Lead female character expresses dislike of male lead. 2a. How does Hitchcock choose to light, frame, and photograph his two stars in this scene? Grant illuminated from behind causing him to be in shadow; slowly lit from front as he enters bedroom Bergman constantly shown i
  14. 1. 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? Hitchcock touches: POV: of one of the main characters opening the scene. We see Mr. Smith impatiently looking at someone or thing. The camera then switches to show us what he is looking at. Then Mr. and Mrs. Smith’s reactions to a knock at the door. Camera zoom: to an extreme closeup of a face mostly buried under covers with only the eye s
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