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Everything posted by Linjo

  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.Cabs entering from different directions but ending at the station, the criss-crossing rails, folowing the two men's walk across the station lobby is from two different angles but end at the one gate, the crossing of feet - Guy's's foot hitting Bruno's, and the characters seated oppost
  2. What Hitchcock "touches" do you see in this early scene from the movie?Contrasts - the disheveled Bergman vs. the impeccably dressed Grant. The smooth, emotionless Grant vs.Bergman coming out of sleep and a nasty hangover. The shot of Bergman is need reminds of the opening shot of Lombard in Mr & Mrs Smith. Bergman's perspective of Grant is askew; Hitchcock rotates the camera as Grant comes in and it reminds me of the way a room feels like its spinning around when you are intoxicated (which Bergman is). The close ups keep us fixed on the two characters and what they are saying to each othe
  3. 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? As usual, his opening sequences pique your curiosity as to what is happening/happened to the people on camera. The piles of empty dishes all around make you wonder exactly why are these two people have apparently been in the room for some time. Interesting camera angles - the close ups of Lombard under the covers and lighting - the reflection of the curta
  4. 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. We see a man awaiting some kind of fate. He knows it is approaching and doesn;t seem to care about anything (his money is carelessly lying about). He is fuly suited 9well dressed) , lying in bed in a somewhat lower class boarding house with an unllit cigar in the middle of a typical day. On the outside children are playing in the light while he lies in a semi-darkened room. he doesn't seem to care that two men are inquiring abo
  5. 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 pacing is much slower than Hitchcock's previous movies and there is an absence of the crowd. The crowd's behavior and interaction with one another would move the action or frame the action. Rebecca begins with the monologue of a character. we're getting one viewpoint instead of multiple viewpoints. It's also a much grander presentation - it looks real - as opposed to the earlier filsm that are more clearly models or graphic representa
  6. 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 tone begins as light-hearted - a holiday spirit with folk music in the background. The older women drops something off at the front desk and leaves then everything chnages - the scene becomes loud (cuckoo clock running amuck, the desk manager talking in different languages on the phone and to the guests assembed in the lobby - their train journey is now delayed by an ava
  7. 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? Crowd scenes seem to set the stage for the rest of the film: music halls, soccer matches, sport fans (watching the ski jump), and a crowd eager to hear news of a recent murder.The crowds in the previous films seem more active because of what they are doing or what is happening to them. This group is just a happy bunch waiting to be entertained. In The 39 Steps, the crowd is more organized I guess and less
  8. 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) Characters I think. 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 seems lighthearted and good-natured - nothing about him seems dark or forboding in this scene. 3. We saw two opening scenes from Hitchcock's silent films in the Daily Doses last week (The P
  9. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. The sound of the constantly talking woman visibly is increasing the anxiety of Alice. When Alice enteres the phone booth she temporarily experiences quiet and relief of the constant talking - maybe she can think clearly and call the police - but for some reason she exits and immediately resumes hearing the never ending monologe the woman. The emphasis on the word knife (and de-emphasis on the woman's other words) - and the number of times the woman apparently says
  10. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? It makes you feel a growing sense of anxiety and walking towards something or someone you would rather not be approaching - but you must. 2. Why do you think Hitchcock uses the technique of a POV tracking shot? What does it add to his visual storytelling? It gives the audience a sense of being more involved and part of what is happening on screen. 3. What connections (visual techniques, images, motifs, themes) do you notice between films that came before this (The Pleas
  11. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? The fast editing enhances the frenetic pace of the party - like a roller coaster ride - while the man witnessing this action from another room is removed yet his view of his wife is framed by the mirror - so we know this woman's actions concern him. The record spinning away on the Victrola is another way he sets the pace of the action. 2. Please note the various techniques Hitchcock uses to create that feeling of subjectivity. Mainly the wannabe's viewpoint - watching his wife through a reflectio
  12. 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? The editing is very quick and gives you multiple perspectives. You are processing a lot of info through images at a fast pace. 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? We are experiencing what is happening at the
  13. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. Yes, the camera angles give us the perception or views of the different characters. I also think I see the juxtaposition of what appears to be a normal or comfortable setting vs. the darker aspects of life - all happening at the same time. Can see his humor as well e.g. the leering but comical old men and sleeping woman. 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 Hitchc
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