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About GeeWiz

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  1. 1) Frenzy opening compared to The Lodger? The contrast between the two opening is stark yet, subtle at the same time. Frenzy's graceful cinematic opening reveals the London skyline most would recognize--the Thames, Parliament and Big Ben, and Tower Bridge. He pushes the camera through black smoke from a tugboat, a skyline streaked from belching smokestacks on to a politician giving a speech about cleaning up the river and its polluted surroundings. Then, the crowd spots a naked body floating in the river (and the mystery is afoot). In The Lodger, the action is immediate--the "screaming" woman as she is being murdered. A frenetic look at the murder's effect on the rest of the community is immediate (and the mystery is afoot) 2) Common Hitchcock touches: The long dolly shot is cinematic glory and the triumphant musical motif suggests something regal. Tower Bridge conveniently opens to allow the camera through, with the artful push-in to the political speaker and the requisite crowd shot. I considered, for a moment, that the dialogue might be irrelevant (taking into account Hitch's disdain for dialogue), except the joke was on me: clean up river pollution (i.e., floating corpse, etc.). Fantastic! Meticulous. 3) Hitchcock's strategic pattern for openings: Hitch drops us into the action in an almost "playful" way to catch us off guard.
  2. 1. Marnie's character reveal: ​We discover she has a real fashion sense (top quality brands, coordinating outfits) very fastidious in her care of one suitcase. Yet, there is a disdain (tosses her garments) for the other suitcase associated with another persona. She is changing before our eyes (new hair color, new ID). When she ditches the locker key, we know she isn't coming back for those items. Questions as to why she is changing abound, all the cash.. Countless echos toward previous Hitch films. 2.Bernard Herrmann's score: ​ Herrmann's score has a haunting repetition that adds to the mystique of the MC. The musical motifs repeat from many prior films including Hitch's love of trains, train whistles, announcer calling out departures, etc. 3. Hitchcock's cameo: Typically, he seeks a sort of an innocuous anonymity (like, where's Waldo). After 48 previous cameos, he's telling us early and pointedly--"Here I am. See me? Now, quit searching and focus on the film."
  3. WOOHOO, so glad to be caught up and in the moment. 1. ROMCOM versus horror: Two upper crust socialites happen upon each other in a pet store when Melanie is mistaken for a clerk by Mitch. The dialogue is filled with suggestive innuendo (looking for love birds, girls love attention, friendly/not too aloof). The birds are caged (wedded un-bliss) versus free (dating). 2. The sound design: More than a musical score, the car noises, streetcar bells, whistle from a boy, and those darn birds create a haunting/foreboding ambiance that quickly moves to irritating. The intensity of the bird chirps grates on the viewers nerves in anticipation. 3. Hitchcock's cameo: As mentioned in the lecture, the theme of TWOS is present: 2 dogs, 2 stars. A symmetry and symbolic coupling thematically present in so many touches from him. The dogs are on a leash (representing marriage) and he seems in a hurry to get away.
  4. 1, Score/title design: As others have mentioned, how great it is to finally recognize the names and brilliance of the dream team membership. The dynamic score is suspenseful and fitful. The "read-between-the lines" graphic design, with vertical and horizontal line wipes, the missing middle components of the cast and crew names, then filled...tell me something will be "Off". As noted in the video, the entire score is conducted solely with strings, haunting, anxious, eerie, grating. 2. Date and time details: Hitchcock is giving the omnipresent information that is part of his signature, planting clues that will be important as the story progresses. He takes over and around the city until he drops us in through the small opening of the raised blinds because we are seeing something that should have remained private--a tryst between two occasional lovers. It is sordid for us to watch--as in Rear Window. 3. The hotel room and Marion's character: This is clearly a post-coital scene (one bed rather the outrageous twin beds of years prior), the man strapping on his pants and the female star lasing in her undies. Marion's dialogue is informative and reveals a great deal about her character than if she had not spoken. She is centered in the frame demonstrating she is the main character and the focus of our attention. She wishes she were married, and tell him this is the "last time."
  5. 1. Flirtatious dialogue: Two glamorous stars acting as though they were "accidentally" seated opposite each other. Or what any of us might do if we had the same poise under those circumstances. EMS is somewhat assertive ("it's a long night, if you know what I mean"). 2. Matchbook Prop: "ROT" reveals Gran'ts comic style, and provides a chance for the two to touch (holding his hand and sensuosuly blowing out the candle furthing the eroticism of the scene. 3. The sound design: The score is romantic combined with the traditional sounds of a moving train.
  6. 1. Sounds and images in these opening credits as a story: If you only watched the opening sequence you might think the story was about hypnosis, mind control, or psychoanalysis. 2. The single most powerful image in this title sequence? When the B&W eye image turns to red, then the eye becomes the spiral motif. Reinforces the hypnotic elements of the entire sequence. 3. Images and score working together: The score has a repetitious quality that is hypnotic, working nicely with the hypnotic graphics of the sequence. There are dark notes juxtaposed with whimsical notes that presuppose suspense.
  7. 1. Describe the opening camera shot of this film? What is Hitchcock seeking to establish in this single shot that opens the film? Whose vantage point is being expressed in this shot, given that Jeff has his back to the window? Their is an omniscient flair to the opening--the viewer is being oriented to the locale and the probably participants. Our only understanding as to what the "problems" are--the heat, no A/C, man confined to wheelchair. 2. What do we learn about Jeff (re: his backstory) simply through visual design? The camera shows us many photos of car crashes, explosions, and generic danger--broken camera), so we can deduce he is a photographer who most likely got hurt taking a dangerous photo. The negative, then the cover photo of the pretty woman suggests a different sort of danger (relationship). 3. Does this opening scene make you feel like a spectator? The POV tracking shot is for the audience. Hitch tempts us with interesting secondary characters in several apartments. The sound motif includes (no train whistle) the radio ad, the alarm clock, children in the street. Visually--we see pets (and birds). I never tire of how many occupations are presented int he secondary characters (milkman, etc.) 4. Bonus question: Is this Hitchcock's most cinematic film? As was mentioned int he lecture notes, the nod toward silent films in the apartment vignettes contributes to the spectacular set design. The design leads to exceptional cinematography.
  8. 1. The metaphor of “criss cross”: The cars in the background cross in the long shot. The taxis drop the men at different ends of the train station. The men approach the station door from different sides. The obvious criss-cross of the train tracks The men take their seats on the train from different sides. Many fo the men and women ont he train have their legs crossed. After sitting, both men cross their legs which leads to Guy’s foot bumping in to Bruno’s. Another man crosses in the background. 2. Contrasts between Guy and Bruno: Bruno’s wardrobe is flashy: white wing-tipped shoes, a pin-stripped suit and flowered tie and a tie clasp with his name. He is showy, self-important, narcissistic. Guy is dressed in staid, conservative colors and almost a sporty look (the v-neck sweater under his coat). Bruno is in-your-face, his speech and body language are overpowering. Guy seems more shy and reserved, unassuming. Even their luggage is consistent with their personality. 3. The score: The music is initially triumphant then becomes more sober/melancholy. The score sweeps to suspense as the train moves closer, then lively. It slows down when the two walk toward their seats. The music foreshadows what is to come when they bump feet .
  9. 1. Hitch touch: The obvious tilted camera angle of Cary Grant to reflect Bergman's drunkenness. There is a distant train whistle and musical theme once the hook has been set. 2. Contrast the design for the two stars: They never appear in the same frame until he plays the recording of her to set the hook for her involvement with his scheme. Constant cuts back and forth, then push-in for the medium range close-ups of each. The lighting differences between characters is dramatic. As he stands in the doorway, the light is behind him, casting his face in shadow--very intimidating. However, the lighting on Ingrid Bergman is brighter--an awakening. He is very well dressed (important), she is more casual (common). 3. Casting to persona? Not entirely. This scene challenges Cary Grant, who usually plays a suave/debonair character rather than the intimidating heavy. Ingrid Bergman is not playing the glamorous "nice lady."
  10. 1. Hitchcock "touches" in this opening sequence? Lilting music helps create a musical rhythm. There are POV dolly shots, (his -- scanning the room in disarray, focus on the cards, dirty dishes, etc.) and hers--push-in on Carole Lombard in the bed. The couple seems to have been cooped in the room for several days. The set also reveals they are wealthy. 2. Typical "Hitchcock opening"? Yes, there are clear moments from prior films. Plenty fo secondary characters, camera angles that showcase the protagonists, musical motif. Establishing incidents. 3. What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? She is fabulous but I didn't like him initially...though he plays the part well. Like his slamming the door, pretending to have left the room. Then quickly revealing himself (wanting to make up without all the rules from previous fights).
  11. 1. Uncle Charlie is in a not-too-seedy boarding house. He's well dressed, surrounded by cash which he ignores, smoking a cigar. When the landlady tells him about the two friends who visited, he is calm in front of her (almost charming)...but shows his anger (defiance) when he is alone. 2. I agree it had noir qualities--location, grit, dark persona, hint of a crime (money, men following the MC). The opening includes the long shot, then pushes in to reveal the bank roll. Darkness is created when the blinds are lowered. 3. The initial sounds are sinister and foreshadow trouble. The score then races...increasing the tension. Finally, the music crescendoes when Uncle Charlie is seemingly going to confront the two men after him...but he passes them by and the music sounds like footsteps.
  12. 1. The opening to Rebecca is different in several ways from the openings we've seen previously. Not a crowded public place, but rather a dilapidated mansion. The camera moves slowly (like a supernatural spirit) matching the narration of a single POV character. The introduction of the two main characters is also different in that one is in immediate danger (potential cliff jumper), rather than a frivolous public crowd scene. 2. Hitchcock touches include the titled camera angle of the man on the cliff, the POV dolly shots that match the VO character is walking down the path to the house, the close ups of the mans shoes at the edge of the cliff and the back of his head. The music motif also switches and changes when Hitch wants us to focus or be distracted. 3. The mansion, Manderley, is a character because the POV character has such a vivid recollection of what used to be and the state of dilapidation that is currently being witnessed. She makes us want to see the house as it was, and be in her shoes.
  13. 1. The opening scene focuses on the musical motif using both the soundtrack (frivolous folk tunes that don't tame the bored/frustrated crowd of travelers, and the bugle call from the cuckoo clock) and dialogue (comments regarding the Hungarian national anthem). The desk clerk is trying to make the most of the situation by offering rooms to stranded travelers. 2. These two ostensibly gay men seem to be narrating a political discussion in a lighthearted manner that may or may not be important as the story progresses. 3. From the moment the women enter the room, Iris is the focus of the attention from the crowd, the desk clerk, and the camera. The desk clerk calls her by name, she is ostentatious and ignores the plight of the stranded travelers. The desk clerk seems only too eager to please her.
  14. 1. Hitch uses multiple camera angles such as to reveal the marquee letters (one at a time), the titled angle to hide (not revealed initially) the protagonist, and the use of a common public place with a large crowd. 2. I believe he is more innocent than other protagonists. The every man/reluctant hero. 3. Hitch uses places viewers feel are common and safe. The large crowd scenes provide a plethora of potential antagonists, and the viewer must pay close attention to try and identify clues and other items of importance. The crowd treats Mr. Memory with derisive mocking, almost contemptuous. They are not necessarily impressed with his knowledge.
  15. 1. I think the characters will be more important in this film. There is no clear protagonist or antagonist from this brief intro scene. 2. Peter Lorre's character seems to have a sense of humor while still have a dark side to him. The way he reacts the skier at first (possible recognition), and then laughing it off and even waving goodbye gives you a strange sense about the character. It's not clear at this point that he is the villain, but learning that he is...we should remember his humor. 3. This story does not open with the crime (as do the other films), rather a scenic misadventure that is unclear whether it will be relevant to the plot at this early stage.
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