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About ckdxtrhaven

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  1. I completely concur with the course notes about having preconceived ideas of both actors’ performances. I only knew of Nelson Eddy and Jeanette MacDonald as a film couple, but I had never seen any of their movies. I had only ever seen MacDonald in one other film called San Francisco, many years ago. MacDonald played a down-on-her-luck, classically trained singer who gets hired to perform in a saloon by the owner, played by Clark Gable. I don’t recall liking her character because she seemed “too good” for the saloon owner and she was clearly out of place in his world of liquor and gambling.
  2. The clip showcases people who don’t seem to have cares about money or any worries of life. The viewer is introduced to Ziegfeld as he gives his hotel doorman a hefty tip for providing pertinent info. Cut to an opulent music hall full of ladies and gentlemen in black tie attire. Ziegfeld and his nemesis Billings are each seated in their own private box enjoying the show. Musical star Anna Held is performing in a luxurious costume, singing a bright, cheerful tune as she moves across the stage with a light-hearted energy. The viewer cannot help but marvel at Anna’s beauty and how she has captu
  3. I think an interesting collaboration would be Hitchcock and Jordan Peele (writer/director of Get Out). The suspense thriller possibilities from this pairing could be prolific; and Jordan Peele comes from a comedy background which would also complement Hitch.
  4. Now that I’ve learned SO much in this course, I’m anxious to see the new movie Dunkirk because I’ve heard it has many elements that are a nod to Hitchcock... Pure suspense Hans Zimmer score More emphasis on visual imagery vs. conversation, to propel the story Bold camera techniques Nail-biting sound design over dialog Story told from three perspectives, interweaving and jumping back and forth in time I also read where they needed to solve the problem of how to shoot inside a Spitfire plane because the camera didn’t fit in the cockpit. They wanted the fight scenes to look as authe
  5. 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. Frenzy opens with majestic pageantry music playing as a long dolly shot shows aerial views of the ThamesRiver area. It's day time and the viewer gets a nice, scenic view of London, even flying under London Bridge. The camera zooms to a group of people gathered along the shoreline of the river listening to a speaker. As he expounds on efforts to keep the river clean of pollution (for over a minute by the time the viewer hears him), a spec
  6. 1. 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 returning to her hotel room after a very successful shopping trip, which includes a new suitcase. She is seen filling two suitcases. One suitcase is larger (we assume this is the new one) and it gets packed very neatly with the new purchases she has just brought back with her. The other suitcase becomes a storage container to discard the clothes she is wearing now, along with other
  7. 1. 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? There’s a chance meeting between Mitch and Melanie inside a pet store. Mitch assumes Melanie is a store clerk, and this type of mistaken identity is a typical meet cute for a romantic comedy. It’s obvious from body language that Melanie is attracted to Mitch, but he doesn’t appear to be as obvious about his attraction to her. Mitch starts asking Melanie questions about love birds and
  8. 1. 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 score is suspenseful string music played at a quick pace. The tune is erratic and jarring, eliciting feelings of urgency and tension. Thoughts of being chased come to mind. The graphics are a series of horizontal and vertical gray lines cutting through the white text of the titles, splitting the words so they are unreadable. Perhaps
  9. 1. 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’s reputation in films is as the irresistible leading man, so it’s only natural that viewers would expect any character he plays to be the object of a woman’s desires. With his handsome looks, impeccable tailoring, and engaging repartee, he would have a tough time avoiding attention from females. Eva Marie Saint I onl
  10. 1. 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. We see a black and white close-up of a woman’s lips, slightly twitching, and then we see a close-up of both her eyes looking left and right. This woman is nervous about something. Move to a close-up of one eye as the image becomes tinged with red. Red maybe
  11. 1. 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 an introduction to all the stars in a series of individual movies playing in each one of the neighboring apartments. Our seat is inside Jeff’s apartment and the overall film is from our (the viewer’s) vantage point. We also have a front row seat for the movie playing in Jeff’s apartment, as well as (that we see later) a close-up
  12. 1. 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 shot of the train traveling over criss-crossing tracks The camera switching between an image of Bruno, and then an image of Guy as they are getting out of a cab, walking through the station, walking through train. Guy’s and Bruno’s crossed legs under the table The men
  13. 1. What Hitchcock "touches" do you see in this early scene from the movie? Glass of liquid next to bed slightly illuminated reminds me of the glowing milk glass in Suspicion. Angled shot of Devlin standing in doorway, masked in shadow. Light shining on Alicia’s curled hair similar to how blonde curls were a point of focus in The Pleasure Garden and in The Lodger. View of Alicia’s one eye peering at Devlin while she’s lying in bed, reminiscent of Carole Lombard in bed in Mr. and Mrs. Smith. Spinning and then upside down view of Devlin as he enters the room. Close-up of a spinning recor
  14. 1. 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? Immediately there’s a panning shot through a bedroom cluttered with dirty dishes, glasses, leftover food and drinks. Someone has eaten many meals in the room. The camera pauses on a man’s hands playing cards and then moves up to his unshaven, preoccupied face looking at a nearby bed. A wriggling body is under the covers as the camera zooms in
  15. 1. 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 inhabits a rented room in a boarding house, address number 13 (bad luck?) in a NYC neighborhood. We first see Uncle Charlie in his room, lying on a bed with his arms folded on his chest, resembling a vampire. He’s dressed in a suit and smoking a cigar, which suggest he likes the finer things. He doesn’t seem concerned about the large denomination bills that are lying exposed on the nightstand and on the
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