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  1. 1. In this sequence, describe how Hitchcock uses sound design to put you into the subjective "mind of Alice"? Be specific. I think he begins by using the chatter of the customers as they ask about whether Alice and her family have heard about the murder. The woman customer continues chatting about it nonstop. When Alice goes to the phone booth to get away from the noise, the phone book flips to the police telephone number. We can see the strain in her face and eyes. As she returns to the store and then joins her parents for breakfast, the neighbor/customer continues her incessant chatter
  2. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? The POV dolly shots and tracking shots give the viewer a more intimate relationship with the characters, a feeling of being in the room with them. We can feel the growing dread and anticipation the young men feel as they await to hear what what the schoolmaster and young woman have to say. By the same token, when the camera and POV shots are turned in her direction, we can see and feel Mabel's conflict about her impending lie and her deep concern about her pregnancy. 2
  3. 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 introductions to both films are both visually interesting. They each capture our investment in the storyline up front, but with different tones. The Pleasure Garden opens with brighter lighting, happier music and wider camera angles than the Lodger to create a lighter feel and mood. The Lodger opens with a close-up of a woman in anguish, screaming. As the camera pulls away, we see an older woman who has discovered the younger woman's body, al
  4. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide examples: At the beginning of the scene, he uses visual images similar to those he develops more fully later in his career such as the women rushing down the spiral staircase (precursor to Vertigo), the chorus line (precursor to Stage Fright) and, of course, the leering men, including the one with his monocular (precursor to Rear Window). The blond chorus girl is a warmer predecessor to Grace Kelly, Eva Marie Saint and company, whom Hitchcock preferred as his female leads later on in his career. Impor
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