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About Cineman76

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  1. Most definitely we see that this movie will be a character driven piece. As we are introduced to Lorre's character he first appears quite jovial and even kindly if not a bit foreign and intriguing but when the skater comes in up close you see both of them are familiar to each other and in a way that is not desirable. The key word awkward does well to punctuate this. Again similar to the other films mentioned we have spectators and action, a crowd and perspective that draws back into tight shots of our main characters. We do have a bit less of a concentration on body parts be it the legs or eye
  2. As the gossiper continues prattling on we start to hear the sound of her voice tone down and out until the key word and sound is her shrill of Knife over and over and as we even get used to it (as its Alice's view that this word is the focus), suddenly the frame changes as Knife is uttered again at a startling level and we are shocked by the way the instrument flies out of her hand visually. This all allows us to experience the subjective mindset of our character Alice. Visually we witness a normal scene of breakfast, customers and familiarity but we are assaulted as we take in the subjec
  3. As the young waitress is choosing between which boy to blame for her claimed pregnancy we can feel the same amount of dread the boys are as the dolly shot closes in on them then playing with our emotions switched point of view to the accuser. This is a very effective way to draw the audience in. We also see similar shots and themes as we had in other of his movies, The Lodger etc, such as close ups of the eyes, dancing and records signifying emotion and sex, and close ups that bring the face into the foreground. Again for me there was a sense of suspense with the shot but even more so one of d
  4. We see Hitchcock use music, dancing, the speed of the record and position of characters to represent and express the inner conflict and turmoil of our young boxer as he observes his wife and opponent getting cozy through the well placed mirror. Eventually these images where it appears his lover is getting to close to his enemy and where the dancers represent the fighters themselves start to appear in ghostlike editing effects showing our young boxers emotions reaching a crescendo. We see him at this point enter the "ring" and approach his opponent and wife to only realize he has given in to hi
  5. 1. Compare the opening of The Lodger to the opening of The Pleasure Garden - what similarities and differences do you see between the two films? We have again tight shots drawing our attention in on the subject of both films, though this time it is one lone figure spread out on the ground, obviously a victim and definitely female versus a group of live young females scurrying about. Then we are drawn again tight into the face of the witness as she explains to first the police and then to our new selection of voyeurs that are crowding in to view the victim and hear of the tragedy. We hav
  6. 3. I think the limitation in no sound might exist but as a fan of silent I find the young woman's quip to the man written, the themes we discussed in the shot and the directors touch still very effective signs of things to come. The camera and dialogue still scream Hitchcock.
  7. 2. I as stated in my answer to number 1 agree we see his touch and will come to see more of it as time goes by and in many unconnected films such as Rear Window vs The Birds.
  8. I most definitely see the beginnings of both shots and scenes that will exist in Hitchcock's bag of cinematic tricks to come as well as themes and even objects such as the binoculars that we will encounter over the next 50 years. We observe as observers the observers of the young women coming down the staircase as it fills our and the male clients field of vision and singles out the concentration for the shot while making sure we do not forget we are as much voyeurs as the gentlemen in the crowd. I think it's interesting to see as well the woman asleep while the boorish men make a spectacle o
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