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ADSeattle

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Everything posted by ADSeattle

  1. 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. ​The opening has majestic music and is in full color. You feel the full glory of the UK, London Bridge, the Thames. Not a silent open mouth screaming. 2. What are some of the common Hitchcock touches that you see in this opening scene? Be specific. ​The shot of coming in from above, Gods' perspective is familiar in Hitchcock's work; Psycho. The photographers cameras like Rear Window, being voyeurs. The cameo of Hitch in the crow
  2. 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. She's a thief and has been for a long time. The different SS cards, the old clothes and hair that she discards, very carefully. Not put in a dumpster, but in a locker and she drops the key down a grating. You know she's never going back there. How does Hitchcock use Bernard Herrmann's score in this scene? It sets the opening up as romantic, no slashing title cards. Title cards writ
  3. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? Mitch sees her standing there, in a very nice suit and very high heels. He knows who she is but gets her to pretend that she works there. Asking her about lovebirds. A bird escapes and she tries to get it back into it's cage. Screwball comedy. (Side note, the shopkeeper tells Melanie that the delivery truck hadn't arrived yet. Why? Did the birds revolt on the truck ride over and kil
  4. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigo and North by Northwest. How does the graphic design and the score introduce the main themes of this film? The "split" of the title in the opening credits mirrors Norman Bates' split personality. The cutting of the credits symbolizes the literal cutting with knives that happens throughout the movie. The music sets up a stressful, manic pace for the entire movie. Which is interesting since there are moments of complete silence. Norman watching Mari
  5. 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.") How does our pre-existing knowledge of these stars function to create meaning in this scene. Grant is wearing sunglasses and his arms are on the table. Eva Marie is drinking coffee and keeps her arms off the table. He only takes off the sunglasses, revealing his eyes, when she says that he has a nice face. I love how he his life is in danger, but he has the "umph" to flirt! It reminds me of Grants role in "An Affair to R
  6. 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. Lips. Nose. Eyes. Black & White, zooming in to one eye which goes to blood red, the eye opens wide-horrified. The music is stressful. The spinning circles are hypnotic, surreal. Not quite reality. It sets up an dream-like experience. The black opening
  7. How would you describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? The opening shot is like we live there, the blinds open one by one. These aren't heavy duty venetian blinds, these are light bamboo shades, even when they are closed you can see out of them (and others can see in). It is showing another day has started. It does what we all do every morning, open the blinds. We see people doing what we all do everyday,
  8. 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. The train tracks, crossing over each other. The criss-cross of both characters exiting their respective cabs. Guys feet, Bruno's feet, Guy's luggage, Bruno's luggage. Then Bruno takes his seat and crosses his legs. Guy takes his seat and crosses his legs. Even in this brie
  9. What Hitchcock "touches" do you see in this early scene from the movie? front and center a glass that has a glow to it. Like that famous glass of milk that Cary Grant had carried up the stairs in Suspicion How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography? Ingrid Bergman is far from glamorous here. Her hairpiece has fallen out and her makeup is all smeared. The camera turns around, giving us Alicias' persp
  10. 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? Not a lot of Hitchcock touches, zooming in to plates of half-eaten food. (Reminds me of the opening of "Psycho", with the hotel room and uneaten sandwiches.) It appears both parties haven't left the room in a few days. But since they have been eating, they haven't been having sex. He needs a shave. The music is light and lyrical. It's obvious fr
  11. 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. Uncle Charlie is comfortable living on the seedy side of town. So comfortable that he leaves his money thrown on the floor. He is lying in bed in the middle of the day, posed, looking like Dracula. He is in full suit, he didn't take off his jacket as most of us would if we were lying down. He is comfortable enough to tell his landlady that he never met the men who called for him. She pulls down the shade and his eyes a
  12. 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? ​You start off with a view of the moon, looking up at it. Not down onto a scene like The Pleasure Garden, or The Lodger. It's all scenery, there is no actor in it until minute 2.10. ​There is a voiceover, taking the viewer from the present into the past. The female star is dressed very simply, like anyone watching the picture. She isn't glamorous like the female star in Lady Vanishes. 2. What are the Hitchcock "touches" in this
  13. 1. Using specific examples, describe how Hitchcock opens The Lady Vanishes. What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay particular attention to the music. ​It opens by the camera coming in wide, giving us a feel for the room. The music is light, almost out of a Disney fairytale. I was waiting for cartoon birds to fly in and get everyone tea. ​Then it descends into almost slapstick chaos. The travelers coming in w/ their loud voices.. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performan
  14. 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? ​Not like his earlier films, this one opens with a lot of action. Almost manic. It starts slow and then builds quickly. There is a lot of background noise. Sounds of a baby crying and a heckler. (?) There is no close up of any one characters face. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previo
  15. 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) ​Based on the opening; the characters. There is very little sound and brief action, which in any other movie would be a tragedy, the act of a skier wiping out into the crowd. In any other movie the skier, Louie would be furious having his chances ruined by a girl running out onto the field. Here, it's all a game, he's not upset, the girls father isn't upset that his c
  16. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. ​The use of sound off camera with the focus on Alices' face, shows us what she is thinking and her distress. 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 hand so that it registers a shock in his audience? Pay attention to both what is happening visually and aurally. Be specific. While they are sitting do
  17. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? ​ The movement is smooth, it puts us into the scene. The wide angle of the room, then coming in close, like we are walking into it ourselves. I can feel the impending doom entering the headmasters room. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? ​ It puts the viewer on the same visual footing as the characters; what they experience we experience. At the beginning, the boys enter the room sho
  18. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? ​He uses one room, as a wide and long shot, as if the viewer is in the room too. ​There is the use of many hands playing instruments. Hitchcock would use hands as a focus in many of his movies, North by Northwest, & Shadow of a Doubt, being 2 of them. 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
  19. 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? What is similar is the camera looking down, but this is a close-up, from the killer's perspective. The Pleasure Garden is filmed above, but far away. God's perspective. 2. 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 emot
  20. What I noticed of the "Hitchcock Touch" in Pleasure Garden was in the opening shot, the looking down camera angle of at the girls on stage, (God's judgement?); the men in the audience using binoculars for a better look (Like Jimmy Stewart in Rear Window), the use of signs in the background, the Smoking Prohibited; while he's in front smoking a cigar (like sign on the door "Dog License in "The Birds"); the character in awe of the girls curly hair (like Vertigo) and the slashing lines in the staircase (Like Psycho) I don't think there were any obvious limitations in lack of sound since ea
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