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Elizabeth_BlogCHSD

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  1. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. As the gossip goes on and on, her voice fades and the only sound is what Alice hears, KNIFE 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. Close up on Alices face showing emotion via facial expr
  2. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? Scenes going from room to room, only connected by a hall/mirror. Frenzied music while living people are engaging intensely in the moment. Music eventually changing to something darker during the dream/hallucination/fore shadowing scene 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 create that feeling o
  3. 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? Both films set a tone proximately at the beginning. The Pleasure Garden opening says to the viewer, sit back and enjoy a frolicking good time. While The Lodger immediately puts us at the edge of ours seat and on an emotional edge of wonder what might be in store behind the next corner. 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
  4. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Yes. It’s just not about the men and their prurient prowess of utilizing (from the front row) binoculars to zero in on a set of gams, it is the blurred view and bringing it in to focus. 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? Absolutely agree. They are spot on. 3. Since this is a silent film, do you feel there were any limitatio
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