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sherry.johnson

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Everything posted by sherry.johnson

  1. I apologize again for my lack of knowledge. The comments made by everyone here - everyone is so knowledgeable. I am going to write down a lot of these movies because I have not seen them or do not remember them well. What a treasure trove! Thanks!!!! My husband and I are always talking about which actor would play which role if the Alfred Hitchcock movies were to be remade. I also would love a line of clothes based on the different female characters - especially the Thelma Ritter and Grace Kelly dress lines. They don't seem to make nice dresses like that anymore. Women need clothes
  2. Wow! Thanks everyone. Thank you Dr. Edwards. Thank you TCM! I have learned so much and wish I could have added a lot more knowledge - but I am inspired to learn much more about movies. And watch a lot of these mentioned above that I have not seen. I immediately thought of Niagra, Gaslight, Dark Passage and Witness for the Prosecution. I have to mention High Anxiety. I will try to remember all the Hitchcock touches when I watch movies now! Thanks and good luck to all!
  3. 1. How does the opening of Frenzy differ from the opening of The Lodger? Feel free to re-watch the clip from The Lodger (Daily Dose #2) for comparison. The Lodger opened with a woman screaming and then the crowd gathers round the dead woman. The police are seen immediately and then the movie starts going back and forth from the police and reporters. Frenzy starts with a very pleasant trip above the Thames with dramatic music. Travelogue was a good description. We s
  4. 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 hiding something big. If I had not seen the movie I would still assume the clothes and money were stolen. She is obviously experienced changing her identity physically and with the variety of social security cards. She is really good by hiding the cards in the back of the gold case. She seems to easily go from one identity to another and prob
  5. 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? The mood seems light and it seems to be a nice day in San Francisco. A very lovely lady is walking down the street and even a boy whistles at her. I think if a man had whistled it would have taken us out of the lightness of the beginning. There is the one scene with the birds in the air - foreboding- but we are quickly brought back to the pleasant scene. However, I find th
  6. 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 staccato of the music intertwined with the broad sweeping strings made me think of stabbing intertwined with driving (not sure why driving) but the more melodic part is bittersweet to me. However, it spells danger! Very bad!! The Bass design made me think of split personality and fracturing of the brain. Since I have seen
  7. And.....the Hitchcock cameo! I wonder how long it took to figure that out. I am so interested in unusual concepts in movies. Putting a bunch of people in a lifeboat for a while movie .... amazing.
  8. 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. Cary Grant the older, handsome, sexy, suave star and Eva Marie Saint the younger blonde with the smokey voice and sexy eyes. Train travel can be dangerous and it can also be sexy. People in a situation away from societal norms. Grant's character is already in a lot of danger....what is going to happen?! There is m
  9. Thank you so much Dr. Edwards! Thank you Dr. Gehring! Thank you for everyone who worked so hard to provide this course. Thank you to all the students who have been so kind. I keep getting teary-eyed thinking of the interviews with Mr. Robert Osborne and Kim Novak and Eva Marie Saint. Mr. Osborne was such a gentlemen and did such amazing interviews. ​My husband and I are always wondering what younger people would make of Alfred Hitchcock movies. I don't know why that interests us so much. Anyway, I just wanted to say how much this course has meant to me at a stressful tim
  10. I had a a problem trying to register. I ended up using a different email address than the one I am registered with on canvas.net.
  11. 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. I felt inner turmoil both of an individual and as an individual and others. Sometimes floating and sometimes falling. A sense of a drawn out drama but definitely a psychological/trauma/drama. Also duality. The interweaving of two forms. I
  12. 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? Amazing! It is a sweeping vantage point of Jeff's world that he is stuck in for the present because of a broken leg. We see the apartments and buildings and surroundings. We even learn about Jeff. I feel like Hitchcock is showing us how the world is a theater even when we are in a city setting that isn't 100% spiffy clean. We are being shown Jef
  13. 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 two taxis arriving. Bruno is wearing flashy shoes while Guy is more conservative. The camera cuts back and forth between them. We have the train tracks that split. On the train the two men's shoes hit against each other. We s
  14. Wow - sounds good. I'm watching it if I can find it! Interesting.
  15. 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? The camera following the trail of dirty dishes up to Mr. Smith then over to Mrs. Smith under the covers. The music being comical and then as they make up more romantic. They look like a wealthy couple with the nice furniture and all that china. They have a maid and cook/housekeeper. Then we find out he is a lawyer. The use of humor when Mr. Smith
  16. What Hitchcock "touches" do you see in this early scene from the movie? The camera angle of Devlin. It made me feel a little queasy and light headed. The use of hazy lighting with Alicia and a little less hazy when the camera went to Devlin. The lighting is less hazy as the scene progresses and Alicia wakes up. The drink has an effervescent quality also. Devlin has "something on Alicia" and as the recording is played and the truth about her loving America and being upset with her father comes out - the two are in the shot together. How does Hitchcock choose to light, frame, and
  17. 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 while dressing well seems depressed or totally worn out. His voice is barely audible. He has a lot of money and is careless with it - but he is in a cheap boarding house in a not so nice part of town. Is he hiding? Two men are looking for him and his friend, the landlady, possibly a mother-figure, is watching out for him. She wasn't sure if she should tell the men he was there but did as she was tol
  18. 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? There are no dancing girls - no women screaming - no sporting event nor entertainment venue. The pace is totally opposite the often frantic pace of earlier movies. A woman is narrating in a soft but eerie voice and Manderley seems to be the major character. There are similarities as described below. I was drawn into the movie because I was interested in what had happened to this poor mansion. 2. What are the Hitchcock "touches" in
  19. Rope.. I need to read the book. I always wondered if Hitchcock had hid whether or not there was a murder how that would have impacted the movie. Would it have made a good movie that way and how would it have worked out - the dialogue. After I watch the movie I always wonder what would the characters have done next!
  20. 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. The music is light hearted and whimsical with the cuckoo clock. When the elderly lady enters she seems happy and it is comical when she leaves getting out of the Inn's door with the wind blowing. We follow across with new guests but then I noticed that the people in the background are looking bored and some seem concerned. This is not what the music is telling us! When t
  21. 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) The opening scene seems to focus so much on the characters and their banter so I would assume the characters would be the focus. I have seen the movie and while the plot led the movie (to me) the way the characters were portrayed they certainly were important. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your
  22. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. The gossipy woman - the tone of her voice leads to the hallucinogenic quality of the word "knife" eventually being the only thing that Alice hears. It is like entering a state of shock. Alice is dealing with having murdered someone in self-defense and the only thing that people are talking about is the murder. I was drawn into her world visually and then it was kicked into high gear by the sound. 2. Describe the different ways that the sound design of this scene operat
  23. 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? It is similar to The Pleasure Garden and The Ring and Downhill in that they are all at an entertainment venue and there is a lot of action at the beginning. The Man Who Knew Too Much is also similar because we are at a sporting event with a lot of action. It is different than The Farmer's Wife which opens at a farm house and different than The Lodger which opens with a screaming woman and a crowd outside in
  24. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? ​I felt like I was being drawn into a care-free environment even though I knew what was coming down the tracks! I really projected my stuff into the characters. That shock when you realize you have just crossed the line of a major milestone in your life and it isn't good. Somehow you know this is a whole new world even though you are too young to really understand. Then this student, I believe, it working through the shock and acceptance. Once again, the wrong man - th
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