[Daily Dose #5: Heard About the Murder? (Scene from Blackmail)]

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 expressions and the most audible sound is KNIFE

3. Why do you think this particular use of subjective sound is not used frequently in cinema?

Other venues for building suspense and building to climax are used such as music 

[Daily Dose #3: Fighting For Her (Scene from The Ring)]

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 of subjectivity. 

 

I think the subjectivity is the mirror.  Is he really seeing the reflection from the living room or is insecurity getting the better of him and the reflections are his mind glimpsing into the future?

 

3. How does Hitchcock stage the action, use set design, and editing techniques to increase the stakes in the rivalry between the two gentlemen?  

A montage of a vivid imagination seeing temptations that could leave his wife astray.  Again, I think he is insecure.

[Daily Dose #2: To-night Golden Curls (Opening Scene of The Lodger)]

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 images or techniques stand out in your mind as powerful storytelling? Or images that provide an excess of emotion? 

What jumped out at me were the camera angle of the screaming woman and the dead body.  The witness seeing the reflection of the man pulling his jacket collar across his face to imitate the witnesses’ description.  I want to say this scene is also where I might see the cameo.  Are those Hitches eyes and nose in the background of the crowd?

 

3. Even though this is a "silent" film, the opening image is one of a woman screaming. What do you notice in how Hitchcock frames that particular shot that makes it work in a silent film even though no audible scream that can be heard. And what other screams like that come to mind from Hitchcock's later work? 

I think the close up, camera angle (and music) of the woman screaming allows the viewer to experience the scream along with the emotions of that victim.  Very much like the shower scene in Psycho. 

[Daily Dose #1: Spiralling into View: The Pleasure Garden (1925)]

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 limitations on these opening scenes due to the lack of synchronous spoken dialogue?

Not at all.  In fact, the scenes could have stood on their own without any dialogue.