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About AmyV

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  1. 1. Based on the opening sequence alone, what do you feel you already know about Marnie as a character? Something bad going on with her. Sheis clearly a law-breaker by having multiple Soc. Sec. cards and very liekly the packets of cash denote something dishonest going on there - plus she completely changes her appearace; she has 2 suit cases, 2 purses - so she is someone who is changing her identity, running away from something, toward something else perhaps? In what ways does Hitchcock visually reveal her character through her interaction with objects? We note how carefully she treats her
  2. 1. In what ways does this opening scene seem more appropriate to a romantic comedy than a “horror of the apocalypse” film? In many ways, the opening seems very light, peppy, with touches of humor, such as the pet store proprietress with her profuse apologies over the late delivery of Melanie's birds. Then, there is the male lead (Mitch) entering the store, soon mistakes Melanie for a store employee, she plays along, and they have a whole discussion of types of bird, molting, etc. What do we learn about Melanie (Tippi Hedren) and Mitch (Rod Taylor) in this scene? They both have an interest
  3. 1. How does the graphic design and the score introduce the main themes of this film? Wow! The frantic/frenetic music! That, along with the graphic design with the names and the very title of the film, makes me think of someone cracking up. It's heavy & stressful sounding, could be scary & hint of danger. 2. As the titles end, we have three shots of Phoenix, Arizona, and a very specific day, date, and time: “FRIDAY, DECEMBER THE ELEVENTH” and “TWO FORTY-THREE P.M.” What is Hitchcock seeking to establish with such specificity? It is a helpful foundation for the entire story.
  4. 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? I guess it creates a sense of irony in the fact that, e.g., Cary Grant's character is trying to "fly under the radar" to not be recognized/noticed. Meanwhile, we know who Cary Grant is, so we feel like saying "how can you not recognize the guy?" 2. There is minimal action in this scene, so any deviation from the overall patt
  5. 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. If I had not seen the movie & just watched this opening, I believe I would think (also due to the film title) that it was a psychologically-oriented movie, a psychological drama, if not a thriller. The music intimates the same thing. I might wonder by it
  6. 1. How would you describe the opening camera shot of this film? It sweeps across the building on the other side of the courtyard, giving us a feel for what Jeff can constantly see as soon as he looks out the window. What is Hitchcock seeking to establish in this single shot that opens the film? The interesting mix of characters all living within close proximity of one another and of Jeff. Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? You might say it is our vantage point, as the voyeuristic observers who usually get to watch through Jeff'
  7. 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 biggest element to me was, as mentioned in the lecture video or the readings, are the criss-crossing railroad tracks. I guess there was the criss-crossing, as it were, of the two cabs the men took. They seated themselves opposite each other on the train, but then Bruno cross
  8. 1. What Hitchcock "touches" do you see in this early scene from the movie? The cool angles & POV shots, such as the view of Cary Grant when he comes into the room and we see it from Ingrid Bergman's viewpoint, so that he is turned completely upside down as he talks to her. The POV closeups of Bergman's character as she wakes up & sees the glass before her & is told to drink up by Cary Grant. The use of shadows/light on Cary Grant, particularly, like when he is standing in shadow in the doorway. 2. How does Hitchcock choose to light, frame, and photograph his two stars in
  9. 1. What Hitchcock "touches" do you see in this opening sequence? The use of the music to help set the tone and feel. There are some POV shots, like the one that comes up to and stops on Carole Lombard in the bed. 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? The couple seem very messy, or as we learn, the fact is they have been holed up in the room for a while, thus the reason for the general messiness. They are a wealthy pair, as it is a large bedroom
  10. 1. This scene is a prelude to the main story. What do we learn about the character of Uncle Charlie in this prelude? Be specific. We see already that there is something wrong with Uncle Charlie, something sinister, and someone is after him, either the cops or other bad characters with a gripe against him. He is very confident in himself, saying the men are bluffing and have nothing on him. Then he goes out &, openly defiant, walks right past them. 2. In what ways does this opening remind you of watching a "film noir"? The use of darkness and light and shadows in the scenes in his r
  11. Sorry, I already typed my whole response out last night but managed to lose it, so I am abbreviating the questions, etc. as much as possible here. 1. How this opening differs from other openings of British silent or sound period? Several of the other films start with crowd scenes, many people moving about or enjoying a show or crowding around after a crime has been committed, or such. This one begins with a scene of an old, seemingly destroyed or run-down house, as it appears in a woman's dream, the same woman who is narrating at that point. Quite different from the other openings.
  12. 1. Using specific examples, how does Hitchcock open "The Lady Vanishes"? What tone, mood, or atmosphere is Hitchcock establishing for the audience very early on in this picture? Pay attention to the music. The tone & moodwith the music and the rather comedic proprietor give it an air of whimsy and lighthearted pleasantness. Nothing in this part seems particularly foreboding. 2. Discuss the characters of Caldicott and Charters in this scene. What do their performances add to this scene? We can almost step into their shoes, since they are Englishmen who are trying to figure out what is
  13. 1. This opening both fits the pattern we have seen previously and deviates from it. Fits in that we again have a crowd scene and, similar to The Pleasure Garden and The Man Who Knew Too Much, there's a show or event taking place with an audience present. One way this one seems to deviate, at least from what we observe here is that there is nothing blatantly sinister going on here, such as there was in The Pleasure Garden, The Lodger, and The Man Who Knew Too Much. 2. Agree or Disagree with Rothman's assessment that Hitchcock here is focused on introducing a more innocent character than in p
  14. 1. I did not get to see the whole movie yet, so just based on this scene, I thought the characters seemed like the bigger deal than the plot due to all the talk by the characters present about other characters in the storyline, people such as the wife/mother (Jill?) and some other man (was he the competitor in the clay pigeon shoot?) that the daughter apparently does not care for. We also begin to get acquainted with characters like Peter Lorre's Abbott and the two men, the girl's father and the ski jumper, Louie. 2. What we learn about Abbott in the scene - he seems very affable, overall;
  15. 1. How he uses sound design putting us into the subjective mind of Alice? We get more sounds from her vantage point, focused on the customer/acquaintance's non-stop talk of the murder & use of a knife therein. As Alice goes into the phone booth, all outside sound is silenced, then restarts as soon as she opens the door. Also, having the woman's conversation become just muddled words, with the exception of one word jumping out over & over again, the word "knife," clearly, we know it only sounds that way to Alice. 2. Different ways sound design operates in counterpoint to the visual t
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