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Film analysis alfred hitchcock
Film analysis alfred hitchcock
Film analysis alfred hitchcock
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Hitchcock was a tenacious and dedicated director. He received his education at St Ignatius College and London County Council School of Marine Engineering and Navigation, which left him with an outstanding work ethic. Nevertheless, his Catholic upbringing instilled a fear of authority along with complications with intimacy, hence, gives one possible explanation of his opinions about women. He also fantasized about travel and exploration as a child, so his experience, curiosity and fear of the unknown produced his “Master of Suspense” personality. Fear of punishment from Satan during his Catholic upbringing, made him squeamish about bodies, which left him with a sense of guilt. This could be the very cause of his discriminatory nature towards …show more content…
Women with blonde hair became labelled as, dumb blonde, ditzy, empty headed, all blonde no brains, are just a few examples. The demand among viewers brought about the platinum blonde bombshell like, Marilyn Monroe, Jayne Mansfield, and Kim Novak just to name a few. Hitchcock’s use of blondes for his films went deeper into the depths of their sex appeal, while at the same time, exploiting their mysterious pristine exterior that hid the depths of their passion. Represented by Cary Grant meeting Eva Marie Saint on the train, which, she seduces him immediately with sexual innuendo. This was not typical behavior for ordinary women, so it brings about the air of mystery to the scene, because you wonder about what game she’s playing at. Each female actor went through rigorous rehearsals to adjust demeanor, makeup, costumes, achieving the perfect female character representation Hitchcock desired. All of his female characters were always well polished, each scene meticulously shot and reshot if Hitchcock wasn’t satisfied. A prime example, is Eva Marie Saint’s makeup was flawless after just having sex with Cary Grant inside the train cabin. Each vision Hitchcock had inside his mind came to life on …show more content…
It didn’t really matter if they were blonde, brunette or redheads. The assumption that he preferred blondes is just conjecture. It is quite possible and probable that the female actors he sought for a film fit a specific look and feel that he was trying to portray on screen. He was a perfectionist when it came to his trade and, consequentially attuned the actor to his specifications. It’s clearly represented when Cary Grant berated Eva Marie Saint at the auction house, when he discovered she was with the man that had kidnapped him. It wasn’t clear as to the role she was playing at this time. All the viewer understands is her emotional reaction to the explicative tirade spat out by a man she may or may not have feelings for. His personal opinion, as stated by his book “Hitchcock”, written by Francois Truffaut, "I always believe in following the advice of the playwright (Victorien) Sardou," Hitchcock once confessed. "He said, 'Torture the women!' The trouble today is that we don't torture women
He probably scared many women into giving up on improving their unsatisfying lives just as most propaganda and media at that time did. Hitchcock created a film that portrayed the feelings he observed in society. A work of art often says something about the culture that surrounds it and Hitchcock told women that they needed to stay in their roles if they wanted to lead a good
Hitchcock’s techniques in North by Northwest to create suspense is unquestionable, because we have seen some of the elements of the mise en scene and camera shots he used to keep the audience guessing throughout the film. The film is “the wittiest, most sophisticated thriller ever made” (Ehrenstein par1). The film have “extraordinary technical skill or martini-dry sense of fun” (Ehrenstein par2), therefore, it is clear that North by Northwest is one of the most suspenseful movies of all
...vie, the actresses that played them actually fit the role. Women usually do not have impacts on things, but in this novel, major things happened as a result of these women. These things include dishonest marriages, love affairs, wealth, power, and jealousy. This goes to show that women are not always the innocent ones in novels, or any other type of literature.
Compared to the other women the this particular book, Sarah Emma Edmonds had the most creative and elaborate disguise. She not only changed her name and hair color, but also her race and gender. Most could not succeed in fulfilling a duty such as elaborate as this one. How should one even begin to change their race and gender? Sarah Emma Edmonds was just the right women to complete this difficult task. Sullivan stated in the book that she first disguised herself going “to a barber who cropped her hair close to her head” (53). The next step for Emma was to change her race. She did this by obtaining “a vile of silver nitrate, a powder that her head, neck, face, and hands “black as any African.” The intellect that a person would need to pull of such a disguise was beyond many. Mata Hari, was known as a legend to many as a female spy. Unlike many other spies that were women, Mata Hari was known as one of the best, and influence many other women to do as she did. She was the most beautiful and mysterious spy of all time, and her story has been “romanticized and popularized in countless articles and books and by a Hollywood feature film starring the fables Greta Garbo.” (62). By including Mata Hari, the author is helping to express his purpose of the book showing that even an average housewive can alter the lives of many. Although Ruth Kuehn did not work alone,
object as she slowly takes a sip. In a later scene, Mrs. Sebastian pours the
Famously known as the “best movie of all time”, (6) Alfred Hitchcock’s Vertigo elicits a dumbfounded reaction to the first-time viewer. However, to the second, or third, or twentieth time viewer, Vertigo serves as one of Hitchcock’s most tantalizing films. A surprisingly shocking film, filled with purposeful editing, surreal sound production, and excellent acting, a cult following only makes sense to provide a testament to an almost flawless film. This obsession with the movie is a direct effect of the fascination of the main character, Scottie’s, sexual obsession. Film critics, such as Charles Barr, analyze Scottie’s sexual fascination through technical terms, such as the amount of point of view (POV) shots on female characters such as Madeleine
...wer struggle for sexual domination through the characters of Scottie and Madeline, and also with the use of certain colors. Vertigo shows the loss of masculinity or the impotent male because of a lack of female submissiveness. The main image of the film is that of a downward spiral. This image perfectly illustrates the idea of women as man's downfall that is stressed throughout the entire film. Vertigo also tries to support gender norms for women with some of the female characters. This film is an ideal example of the sexual confusion and anxiety felt by much of American society at this time, proving that film is a cultural product.
Critics have noted that Alfred Hitchcock always had trouble with women. His films are known for having blond women portraying troubled, morally challenged women. This holds true in Spellbound, with Constance’s initial emotional frigidity, which later gives way to intellectual stupidity. In Spellbound, Hitchcock’s treatment of women is at an all time low. Constance is dismissed repeatedly throughout the film, as not being capable of clear, intellectual thought because she is in love. Before she falls in love, she is dismissed as a cold fish, incapable of feeling, and her femininity is challenged. There is therefore no middle ground left.
When looking at Brain De Palma’s version of the parlor scene Dr. Elliot is depicted as self-righteous but at the same time admitting so bluntly that he desires Kate, his patient, it takes away from self-righteousness. Norman does not bluntly admit his desire for Marion but instead chooses to be the peeping tom and spy on Marion as she gets ready for shower. Again De Palma choses to show sexual anxiety in a more blunt way than Hitchcock could show in Psycho. Also there is the character of Liz Blake who comparing to the character of Lila Crane is far more expressive with her sexuality and is a prostitute. Again De Palma is doing what Hitchcock could not have done at the time and shows openly female sexuality in Dressed to Kill.
Alfred Hitchcock developed his signature style from his earlier works The Lodger and Blackmail. These films were the framework for his signature films later on. His themes of “an innocent man who is accused of a crime” and “the guilty woman” were first seen in these two films and are repeated throughout Hitchcock’s cinematic history
Hitchcock has a way of throwing clues in the face of the spectator, yet still allows some room for the spectator to find their own less obvious details. In the same museum scene, Hitchcock shows the viewer exactly what he wants them to see. In a sense, Hitchcock can be very manipulative with the camera. The audience sees the picture containing the women with a curl in her hair holding flowers, and then the direct connection is made by the camera, by showing the curl in Madeline’s hair, and the flowers sitting next to her. The spectator is led to believe that they have solved the mystery and she is truly possessed by the women in the picture. However, Hitchcock does this on purpose to lead the audience away from the truth that she is only acting. It is for these reasons that Hitchcock’s work at an auteur adds a level of depth and intrigue.
In the film Rear Window that was released in 1954 Alfred Hitchcock the director uses suspense through out the film to create a mystery. Hitchcock uses several techniques like symbolism, narratives, and voyeurism. Hitchcock main focus in the film was to create the entire film from a one-point vantage spot. The film depicts a vision in the audience head that is produced by visuals. How do gender roles. Having the film shown by the eyes of the protagonist Jefferies eyes the audience have a connection to the film and have one specific vocal point to focus through out the film.
There are three key scenes that best exemplify Hitchcock’s technical competence. After Alicia’s party and run in with the police, she is shown lying in bed with a hangover. We see a close up of a concoction Devlin made Alicia for hangovers. The next shot is a Dutch angle of Devlin, arms crossed and in shadow. Alicia drinks more of the concoction and camera’s perspective is in Alicia’s point of view. The Dutch angle slanted to the right rotates clockwise to an upside down shot of Devlin because Alicia is lying upside down on the bed. Coincidently, after the elaborate camera work, Alicia sits up and says, “What’s this all about? What’s your angle?”. Hitchcock’s technical competence in this scene is a testament to his authorship.
There are other ways in which Hitchcock broke with convention. He shows the leading actress semi-nude in a bedroom after having had sex. Later, he shows her in the shower and finally he eliminates her. one of the main characters, only 47 minutes into the film.
When looking at the works of Alfred Hitchcock there are many recurring themes. Wrong man, classic Hitchcock villains, and the use of staircases are just three of the many attributes you see when watching a Hitchcock film. My favorite, however, would have to be Hitchcock’s portrayal of the mother. Whether she is there for comic relief as we see in Shadow of a Doubt, or as the root of all evil as you see in Strangers on a Train and Notorious, the mothers he creates are far from ordinary. Either their naïve nature or pure hated for others help to link these movies to one another.