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SNPF

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Everything posted by SNPF

  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
  15. 1. 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. Disregard for obvious wealth: money strewn about on nightstand and floor Man of taste: a bit elegantly dressed while smoking a cigar Evasive: answers landlady’s questions in halting manner, providing answers that don’t quite tell the truth or are patently misleading. Sinister: laying on bed in darkened room in contemplation Deliberate: voice is always in even monotone, as if deliberately controlling any indication o
  16. 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? The opposite of closeups of people screaming, frantic action, a public place filled with people. Rebecca opens in a dreamy, shallow depth of field, almost in slow motion as opposed to the generally sharp images of previous opening sequences. Also, the long narration by a leading character. 2. What are the Hitchcock "touches" in this opening that help you identify this as a film directed by Alfred Hitchcock? POV, although in th
  17. British Sound Years, Pt. 3: Hitch and Writers in the British Sound Period 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? Openings in public places: The Ring The 39 Steps The Lady Vanishes The Pleasure Garden Downhill The Man Who Knew Too Much Easy Virtue The Lodger It could be said Blackmail opens in a public place however it quickly focuses on an area the general public wouldn’t have access to: the inside of a special police truck.
  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) Characters. 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 film? We learn that he’s not English, overweight, jovial, seemingly good natured. Also, that despite his friendliness, there may be a hint of a darker side from his reaction and perhaps recognition of t
  19. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. Muted sound at the beginning of the sequence till Alice opens door to enter the room drew me into the room from her perspective. At the end of the sequence with the bell ringing elongated, Alice looks about as if to see whether she is the only one hearing that sound. 2. Describe the different ways that the sound design of this scene operates in counterpoint to the visual track. For example, how does Hitchcock set up the shot where the knife flies out of Alice's h
  20. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? Slightly different than what’s stated by Raymond Strauss in Daily Dose #4, the 1st thing that comes to my mind when seeing a dolly shot is to trying to determine whether it’s done the classic way, a camera mounted on a platform traveling over tracks; or a steady cam is in use. As to the 2nd part of the statement “reality seems skewed” depends more on the type of movie being viewed. Personally I can’t stand the “jump out at you” (ex. Alien) suspense type scene, which gen
  21. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? In addition to other comments regarding cuts what impressed me was something that is so obvious it doesn’t seem to be mentioned. Every frame has constant motion. Even the section where the dancers sit down from exhaustion, a partier immediately produces a bottle to, at first, help the dancer, then after she drinks continues to pour the champagne down her throat. Immediately after pushing the bottle away, the dancer is up and dancing again, joined by her partner. The partiers, although seated,
  22. This is something I've wondered about, especially in watching The Ring, Hitchcock's boxing melodrama. In an interview Hitchcock confirmed the audience would break into applause at the end of the "the party " scene due to the frenetic pace of the montage which included a dance sequence (similar in style to the Charleston dancing in The Pleasure Palace.) It seems odd that in controlling almost every aspect of his films H would not also require the score that would accompany his films. Perhaps he was resigned to the idea that local theaters would not be able to provide musicians that would be com
  23. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Striking visuals controlling what the audience sees, including: the chorus girls descending a spiral staircase, sides of frame masked off to isolate the staircase, out of focus visual brought into focus, extensive use of vignette. 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? Kind of hard not to agree. Elements include: the theatre, voyeuris
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