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ckdxtrhaven

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Everything posted by ckdxtrhaven

  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
  16. 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? The film opens as a dream sequence with a woman’s voice describing her return to Manderley. The tone of her narration is soothing, while slow, melodic background music plays. There are no crowds gathered, no lively music, no humorous jabs interspersed. The initial setting is a private road leading to an empty mansion. The camera movements are not quick cuts, but rather, gentle and hovering, giving the sense of floating. The ocean sce
  17. 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 opening shot pans a group of people sitting in a hotel lobby looking rather bored. Their suitcases are cluttered around the room, and they're trying to entertain themselves reading newspapers while they wait. The music starts up and is cheerful and whimsical, almost like a bird whistling a tune. An older woman hotel guest breezes down the stairs and walks to the fron
  18. 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? The setting is a public place. The panning sequence as individual letters are lit up spelling "Music Hall" reminded of the flashing "To-night Golden Curls" sign in The Lodger. Also reminiscent of The Lodger is seeing a trench coat wearing figure, no face shot. A crowd is gathered to watch an event. There's a glimpse of a woman's leg as the camera enters the theater, while lively music is playing (The P
  19. 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). I've never seen this version of the film; but, I am guessing the characters will be more important as the film progresses. We're just getting a glimpse of the varied personalities. 2. What do you learn about Abbott (Peter Lorre) in his brief scene? How might this introduction affect your view of the character Abbott later in the film? Abbott appears ve
  20. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. Alice going into the phone booth and closing the door which silences the outside noises. This puts the focus on Alice and what's she's doing. The word knife is used multiple times by the female neighbor in conversation. When knife is spoken, the volume is amplified more than other words, letting the viewer know Alice is hearing and putting importance only on that word. Alice's facial expressions become exaggerated each time the word knife is heard (wide eyes, eyeb
  21. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? Watching the POV shots drew me into the scene with the players. I was witnessing what the character was experiencing. I was feeling tension, anticipation, fear, and empathy for Roddy and Tim as they walked toward the headmaster. I was resenting the woman as she approached Roddy and Tim. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? POV shots give the viewer a sense of being included in the action
  22. Again, SO amazed by what Hitchcock conveys through visuals minus sound! 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? I was immediately uplifted by the lively music and the wide shots of the dancers and party people moving furiously. The quick cuts to the fast spinning record, the piano player, and different people in the room laughing and drinking intensified the jovial atmosphere of the scene. The music slows as the camera gets a close up shot of the wife looking pensive and then cuts to the husband’s reflection in the mirror
  23. 1. What I notice most are the colors in the opening scene of each film. In The Pleasure Garden, you see beige/brown hues. Beige is bright, light, ordinary, vanilla. In The Lodger, it's blue hues. Blue to depict the night, being outdoors, but also to add a cold, eerie, foreboding tone. You see the contrast in The Lodger when the scenes jump between the reporter in the phone booth (blue hue) calling the news office (beige hue) to report the story. 2. The shot of the crowd peering at something – and the viewer does not initially see what the crowd sees – adds anxiety. The woman’s wide, w
  24. 1. Seeing the stage, I was immediately reminded of a later Hitchcock film, Stage Fright. The camera shot from stage right as if the viewer is spying on the performers on stage, along with the men in the audience ogling the women using binoculars, are both examples of voyeurism which is a prevalent theme in many Hitchcock films. Then the main object of desire being a blonde woman – Hitchcock loved blondes! The smoker next to the no smoking sign, or the woman asleep at the end of the row of men display Hitchcock’s wry sense of humor. 2. Definitely agree. 3. The movements of the
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