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James Dean

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About James Dean

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  • Birthday July 9

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  1. 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. Hitchcock seems to be aiming for a comedic, tongue in cheek tone. The atmosphere is homey and overly romantic--- like a German cottage one might find at EPCOT Center, with its coo-coo Clocks, Germanic wall writings, and beer bottle window class. 2. Discuss the characters of Caldicott and Charters in this scene. What do the performances of Caldicott and Charters add to this
  2. 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 matches the films we've previously touched, in terms of introducing a setting via multiple shots, but differs since there is no sparkling energy. No murder, no music hall dancing, rather the slow upstart of a low-end vaudeville routine. 2. Do you agree or disagree with Rothman's assessment that Hitchcock in this film is focused on introducing a more innocent character than in previous opening sequences
  3. 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 Characters, their relationship to each other, either implied or stated in dialogue is what's given the most attention so it's going to be most important to the coming plot. 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? He's an outsider who's second-languag
  4. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. Hitchcock seems to let Alice wander visually, which reflects audibly with her surroundings. The gossiping customer's prattle goes in and out, and the emphasis on the word "knife" betrays it's importance to Alice's thoughts. 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
  5. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? It certainly adds to the tension and the sense of anticipation about the boys mounting dread of accusation. This applies Equally for Mabel, as she decides as to which boy should burden her accusation. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? The use of the POV tracking shot adds an intimate, and claustrophobic dimension to what could have been a fairly dry "that's the man who did it, mister" sce
  6. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? T he party sequence is cut particularly fast, compared to the long shots in the boxing meeting. The Montage of jealous rage is also extremely well put together, pulling the different elements from the neighboring party we've been introduced to, and double exposing them to build up a nightmare of "noises". 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 n
  7. 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 share a moody nighttime setting, both play on perceived threats that go nowhere (In Pleasure Garden, the gentlemen courting the chorus girl, and in The Lodger, the "murder's" reflection in the food stand) to give a ghoulish uneasy feeling to the proceedings. Unlike Garden, Lodger doesn't have any focused leading characters. The witness, who presumably will show up later, has the only notable speaking role, but even she's drowning in a sea of f
  8. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. I can't readily admit to being well versed enough on Hitchcock to really see much of what we're calling the "Hitchcock touch", but from a few films I've seen there seem to be traces of the "Bomb under the table" rule of suspense. The audience is given an almost voyeuristic view of each scene. First from the establishing shot of the stage from the catwalk (like a phantom) and then in the street. We're made to sympathize with Jill Cheyne in the streets (and earlier the showgirls who we se
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