Comparing Hitchcock’s Films, Shadow of a Doubt and Vertigo
Francois Truffaut, when referring to Hitchcock said that “he exercises such complete control over all the elements of his films and imprints his personal concepts at each step of the way, Hitchcock has a distinctive style of his own. He is undoubtedly one of the few film-makers on the horizon today whose screen signature can be identified as soon as the picture begins.” Many people have used Hitchcock as the ultimate example of an auteur as there are many common themes and techniques found amongst his films. Even between the two films “Shadow of a Doubt” and “Vertigo,” many commonalities occur.
There are several images that Hitchcock frequents in these two films. One image is that of staircases. First of all, the staircase in “...
In order to suit his needs Hitchcock transports the locale of Vertigo (1958) to the most vertical San Francisco city where the vertiginous geometry of the place entirely threatens verticality itself. The city with its steep hills, sudden rises and falls, of high climbs, dizzying drops is most appropriate for the vertiginous circularity of the film. The city is poised between a romantic Victorian past and the rush of present day life. We were able to see the wild chase of Scottie Ferguson (James Stewart) in search for the elusive Madeleine Elster (Kim Novak) and the ghost who haunts her, Carlotta Valdes in such spots as the Palace of the Legion of Honor, the underside of the Golden Gate Bridge at Fort Point, the Mission Dolores, Ernie’s restaurant,
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
Finally, as the mentioned examples show us: composers becoming immersed with a filmmaker at an early stage of their careers can end up to be one of the most natural, harmonic and fruitful artistic relationships for both of them. Hopefully in future more composers can become a more active part in the storytelling as a co-author of the film, while remaining a versatile and original author of music, in other words a great composer.
In Shadow of a Doubt, Hitchcock utilizes and stretches the ambiguous line between comedy and suspense by utilizing smaller characters in the film to keep the story line moving, and to help break sequence or rhythm of what the audience had been perceiving at the time. Many of the minor characters were used as “fillers”, such as the waitress in the bar when Uncle Charlie and Charlie are sitting in the bar, and makes the comment “I would die for a ring like this”; or the quiet, gentle neighbor Herb who is fascinated with the process of homicide and murder. It brings to the audience an immediate comic relief, but similar to all of Hitchcock, leaves an unsettling feeling of fear and suspense with the viewer. Shadow of a Doubt is a film that hits very close to home for me, primarily because of the small town feel very similar to Orono that I have grown to know so well. There is a brutal irony that lurks through the film, especially during the time period that the film was made. The picturesque stereotype of small town life in the 40’s is brutally torn apart by Hitchcock wit and creative ingénue, putting the viewer in an uncomfortable mind stretch of reality.
Alfred Hitchcock's Vertigo is a film which functions on multiple levels simultaneously. On a literal level it is a mystery-suspense story of a man hoodwinked into acting as an accomplice in a murder, his discovery of the hoax, and the unraveling of the threads of the murder plot. On a psychological level the film traces the twisted, circuitous routes of a psyche burdened down with guilt, desperately searching for an object on which to concentrate its repressed energy. Finally, on an allegorical or figurative level, it is a retelling of the immemorial tale of a man who has lost his love to death and in hope of redeeming her descends into the underworld.
In this term paper, I have tried to tackle the metaphysical issues of consciousness by first defining consciousness and doing a thorough study about the term. Then I proceeded to the metaphysical aspects of consciousness, examining and understanding them.
Consciousness is something that is experienced on the daily basis, whether we are describing our awareness or perception of the physical world. David Chalmers provides his insight on consciousness by first identifying the easy problems presented by consciousness, then the hard problem that is puzzling and one that can’t be fully explained. The hard problem serves as crucial topic has sparked many philosophers to attempt to provide a solution for this problem. To Chalmers, the hard problem involves our experience. Ned Block responds to hard problem by providing his ideology of the epistemic gap that exists between phenomenal consciousness and access consciousness.
Parton, N., Thorpe, D. and Wattam, C. (1997) Child Protection Risk and Moral Order, London: Macmillan
Renner, T., Feldman, R., Majors, M., Morrissey, J., & Mae, L. (2011). States of Consciousness. Psychsmart (pp. 99-107). New York: McGraw-Hill.
Throughout this essay, the health, safety and welfare policy and practise that came about after the Victoria Climbie case will be reviewed and evaluated. After arriving in England in November 1991 from the Ivory Coast, eight-year old Victoria Climbie suffered abuse from her great-aunt, Marie-Therese Kouao, and her great-aunts partner. The anguish and eventual murder of Victoria in 2000 from hypothermia, caused by malnourishment and damp conditions, provoked ‘the most extensive investigation into the child protection system in British history’ as described by Batty (Macleod-Brudenell, 2004). The high media profiled incident exposed a clear lack of precision and communication between all professionals and agencies involved. This is shown by the fact that the mistreatment Victoria was suffering had gone unnoticed by the social services, police and NHS staff, who failed to make each other aware of the clear danger signs. Within the Lord Laming Inquiry into Victoria Climbie’s death (2003), it can be seen that some features recur time after time in child abuse cases; inadequate resources to meet demands, inexperience and lack of skill of individual social workers. In addition, it can also be seen that crucial procedures were evidently not being followed. The procedure that was established after this case included the recommendations made by Lord Laming such as the Green Paper of Every Child Matters (DfES, 2003) and the Children Act (DfES, 2004). These ensure that all children have the fundamental right to be protected from harm and abuse. In addition to this, it also certifies all adults who come into contact with children and families have a duty to safeguard and promote the welfare of children.
Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film: we find evil in the places we least expect it. Through careful analysis of the bar scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles, and lighting.
Functionalism is a materialist stance in the philosophy of mind that argues that mental states are purely functional, and thus categorized by their input and output associations and causes, rather than by the physical makeup that constitutes its parts. In this manner, functionalism argues that as long as something operates as a conscious entity, then it is conscious. Block describes functionalism, discusses its inherent dilemmas, and then discusses a more scientifically-driven counter solution called psychofunctionalism and its failings as well. Although Block’s assertions are cogent and well-presented, the psychofunctionalist is able to provide counterarguments to support his viewpoint against Block’s criticisms. I shall argue that though both concepts are not without issue, functionalism appears to satisfy a more acceptable description that philosophers can admit over psychofunctionalism’s chauvinistic disposition that attempts to limit consciousness only to the human race.
The sympathy of the government for mothers such as Khaila, trying to recover their parental rights has worn thin. Child abandonment is a serious offense and the children that suffer from such neglect face many psychological problems; if they are ever able to survive their circumstances. The abandonment and neglect of a child can result in serious criminal charges. One striking example is the case of seven month old Daniel Scott (Should We Take Away Their Kids?). Baby Daniel had been left for hours unattended and died of in a pool of his own blood. His mother, a crack addict left him in the care of his father to go on a six day crack binge. His father in turn, left him in his crib leaving the door of their Bronx tenement unlocked for any danger to afflict his unprotected son (Should We Take Away Their Kids?). The parents were later charged with manslaughter by negligence.
The parallel between Alicia’s dependence on Devlin and Alex’s on his mother is prominent in the final scene. The scene takes place on the grand staircase of Alex’s mansion. Influenced by German Expressionism, stairs serve an integral role in this and subsequent films. Alicia, propped up by Devlin, and Alex, shadowed by his over-bearing mother, all descend the grand staircase in the mansion under the eyes of the Nazi party. Outside of the house, Alicia and Devlin make their escape to freedom while Alex reluctantly returns up the stairs to his fate with the Nazis. Ending the film on the stairs attests to Hitchcock’s style.
Consciousness is one of those topics that are in the position of trying to understand one’s own organism with one’s own organism. The topic of consciousness is so elusive that it mirrors child hood games of trying to catch your own shadow. In the World of philosophy, discerning the truth about consciousness is no childish game. Materialist J.J.C Smart and philosopher Thomas Nagel agree that qualia exist, but are diametrically opposed when it comes to what consciousness is. In this paper I will argue for Nagel’s point of view that consciousness falls outside the nucleus of scientific explanation. Physicalism cannot objectively uncover consciousness using scientific methods because consciousness cannot be reduced to material parts. If Smart’s reductionist view points were correct, where as physics can explain all there is to know about everything in the universe, then why does consciousness seem to evade physical laws of investigation? Explaining consciousness provides physicalism with challenges that place limits on scientific knowledge, and what it can uncover about consciousness.