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About wadjet25

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  1. From the moment we set eyes on Dunant purchasing a ticket for the show, we know that this film is about him. We don't see his face until the audience of the show is revealed, but we see him from the back and important details are revealed. His coat, while not common, is well tailored and of popular fashion, his shoes are well taken care of, he is well coifed and carries himself in a confident manner. And while many of the previous opening scenes take place during a spectator event, none of the opening scenes we have viewed to this point follow one character with such detail. And even when focu
  2. From everything we have learned so far, can there be any doubt that the characters will be more importnat to the plot? We can see it in how the opening scene is handled. While there is some focus on the action, it contribution (the crash) to the story is to open character interaction. Here we get to meet Abbott in an unguarded moment, where we are introduced to his sense of humor. He has been made vulnerable​ and instead of anger, we see laughter. Through dialogue and interaction we learn a great deal about him. English is not his native language. He has a "nurse." And he knows the ski jumper,
  3. Hitchcock places us in the "mind of Alice," by having the sound follow where she goes in the scene. When she walks into the store, the voice of the gossip at the register goes from barely audible/ understandable to loud and clear, and as she steps into the phone booth, all sound stops. We don't even hear the pages of the phone book turn, or the click of the receiver. This also speaks to how the sound design operates at a counter point to the visual track because even though there is silence in the booth, we know from the visual cue of the Alice looking at the phone book entry for the Metropoli
  4. The dolly shot has the effect of drawing the audience into a collective feeling of dread, like the world is coming down around us all as the maid slowly advances. With each step in our direction, the tension builds and we feel less in control. This is the perfect shot for this scene, because from the boys' perspective this woman has the power to destroy their life with a word. As the dolly moves, so does each second to the moment of truth, the resolution of anxious uncertainty. The one theme that struck me while watching the clip was how Hitchcock used music and dance to portray sexuality
  5. Expressive editing adds an element of chaos to this scene from The Ring​. Without the intercuts of the record player, the piano player, the exaggerated visions of the piano keys and dancers, we would be left with scenes from a party....with little comment on the feelings of the man in the other room. Perhaps we would have some shots of a squinted eye and dark grimace, but we would not feel his spiral into frenzied jealousy. I would say there is no subjective shot quite like that through a mirror. The mirror gives the boxer an a view of the party and his rival, but it also gives the viewer
  6. ​The opening scenes of The Pleasure Garden and The Lodger​ from first glance, feel like different films. The tone is much different. From the opening shots (dance hall vs. woman screaming), to the subject matter (night of frivolity vs. serial murder). However, there is a constant theme in each, an audience. In the dance hall, we have a panning close-up shot of the front row of male audience members. In the streets of London, we have an evolving audience from eye-witnesses, reporters, newspaper press operators, and finally patrons of the press. There is a constant of voyeurism. The one elem
  7. I do see some elements of the "Hitchcock touch" in this opening scene of The Pleasure Garden (1925). What struck me the most was that innovative shot of Patsy Brand from the perspecitive of the male audience member. Seeing her in a blur without the monocle, a more focused blur, and finally in perfect clarity through the binoculars, we leer at her. And than, just as we grow uncomfortable at the intimacy, Patsy feels his attention and its intent and reacts. Its like a sequence from "Rear Window" or "Dial M for Murder", where the director makes us understand the scene by putting us in the shoes o
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