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The Alfred Hitchcock Signature in his Films
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To this day Rope, Alfred Hitchcock’s first color film, remains one of the most original motion picture dramas. With the exception of the opening credits, Rope was shot on one individual set located within a soundstage, similar to as if a play was being performed on stage. Despite the confined space the film occupied, the atmospheric anxiety carried on up until the very end. Furthermore, Hitchcock successfully created a deception, of the same repetitive shot. Nonetheless, during the one hundred and eight minute film, it’s hard not to notice the closeness Phillip and Brandon shared sexually together, making them homosexuals.
The movie opened up on a street in the afternoon, directed towards an apartment where two young men were strangling another man with a rope. From the moment David had been killed and stuffed into a trunk, it was clearly visible that Brandon and Phillip shared an intimate relationship. Robin Wood discussed much of the films “Fascination from the equivocal relationship between the two murderers (the whole action can be seen as a working out of suppressed homosexual tensions)” (66). However, it’s a bit ironic that Alfred Hitchcock casted Farley Granger and John Dall, both homosexuals, to play the roles of two gay college students. What’s even more scandalous than the strangulation was the party Brandon had planned shortly after. Guests arrived to the scene of the crime, a stunning apartment with an incredible view that overlooked downtown New York. Shortly after, Brandon began to express his superiority by believing he could get away with hiding David in a large chest that would provide as the party’s centerpiece. The unknowing housemaid carried on, setting the entrée on top of the chest, which contained the co...
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...mission when wanting a drink. These are stereotypical roles and behavior that followed the murder, representing sexual characteristics as a result to the experience having to do with the murder. In the end, when Rupert told the two men that they would die, it showed them how karma works. Meaning, they would be killed just like they killed David.
While viewing this film, most of the audience may not be as fortunate and sophisticated as Phillip and Brandon were, but we all have the same rights as they did within the freedom of our own happiness. Between the two main characters, one is egotistical and the other a self-assured psycho. It’s clear that the two men shared a close homosexual relationship. Although, nothing is said straightforwardly, the snippy attitude and at times, loving wordplay between Brandon and Phillip imply the intimate communication of lovers.
Strangers on a Train is one of Hitchcock’s most well-known films. It is typically analyzed in terms of the ways that the two main male characters interact. According to many film critics, homosexual attraction between Bruno and Guy is one of the premises of the film. This may be the case, however, many of these film critics fail to consider the minor characters of the film: the women. Specifically, they fail to analyze the influence of these women on the development of the male characters and to interpret the message Hitchcock is trying to portray about women, especially those with qualities typically not associated with women.
Alfred Hitchcock's Psycho Alfred Hitchcock's "Psycho"-the movie the world recognised-was first premiered in the home town of New York on the 16th June 1960.The film follows the life and strife of a young beautiful woman Marion Crane, played by the Janet Leigh, who is on the run from the police after stealing $40.000, she manages to find refuge at the Bates motel where she makes her worst mistake possible. During and after the film production of "Psycho" Alfred Hitchcock had his aids buy as many copies as possible of the novel "Psycho"-written by Robert Bloch. Why? To conceal the ending form the public's eye so when the film was shown in cinemas the audience would'nt know the ending. When people found out the title of the movie Hitchcock said it was based on a greek love story "Psyche".
Rear Window and the works of Hopper are both required with confinement. Disregarding its blended utilize land setting, Early Sunday Morning does not pass on a warm, fluffy feeling of group. In like manner, in Rear Window, the inhabitants of the lofts are confined from each other. Apartment Houses is additionally for the most part viewed as another antecedent to Rear Window. Large portions of Hopper's night settings portray scenes from New York City and Night Windows is no special case. The lady in this work of art is totally unconscious of the stage she is on and the front line situate its eyewitness involves. Its semi-sexual story is resounded in Rear Window, and it catches strikingly the experience of living in New York: the a large number
Throughout Rope and The Secret History, Alfred Hitchcock and Donna Tartt explore the philosophy of crime and justice. Donna Tartt’s The Secret History opens in medias res with a chilling recount of a group of classics students pushing a classmate off a precipice to his death. Similarly, Rope opens with Brandon Shaw and Phillip Morgan strangling an old friend and hiding the body as they prepare a dinner party. Though Tartt recounts the events that lead to the murder of Bunny Corcoran as well as the unsettling aftermath of the incident, Hitchcock explores the aftermath of the murder of David Kentley
In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The plots that are played out before his eyes become more important than his own personal life. In fact, Jeffries renounces the idea of marriage due to the scenes he witnesses from within his apartment. This is displayed by his initial rejection of the beautiful Lisa Freemont, played by Grace Kelly. She is unable to divert Jeffries’ attention from the window even with the most forward flirtations. It is not until she puts herself on the other side and into the “movie” that he becomes interested in her. Lisa finally becomes the subject of the gaze and only then does Jeffries show any sexual attraction towards her. When Lisa breaks into Thorwald’s apartment, Jeffries does not see the same Lisa he saw when she stood by him and sat in his lap. He now looks upon a “guilty intruder exposed by a dangerous man threatening her with punishment” (Mulvey 207). He is aroused by this new spontaneous side of her. From this scene we see that Lisa Freemont cannot become a part of the movie until she becomes a character in the “movie within the movie.” This creates a new perception of Lisa for Jeffries and clears away many of his marriage anxieties, providing closure to their dispute and foreshadowing a relationship and eventually a marriage between the two.
Usually in novels grappling with identity crisis, there is a downfall like for Brick’s struggle to be true to his sexual identity in Tennessee Williams’s play, Cat on a Hot Tin Roof. It was in a time when America did not tolerate same sex relationships, so each character acted in accordance with the sexual identity given to their genders. For Seymour, he is heavily praised like some kind of God for his...
The sexual dominance of male characters over their female counterparts in the plays establishes their superiority and control. Both playwrights suggest that a degree of personal status is acquired by sexually dominate women. The rape scene shows Stanley’s use of power sexually through rage and strength, used to illustrate his final defeat of Blanche and establish himself as ‘King’ of his territory, ‘limited to expressing basic desire’ . ‘Since earliest manhood… his life has been pleasure with women... giving and taking of it... with power and pride’. It is a power he can achieve over women that they cannot over him. ‘Let’s have some rough house! [He springs towards her, overturning the table. She cries out... he picks up her inert figure… carries her to the bed]’. The use of stage directions portrays Blanche’s passivity, and gives the audience a better understanding of how the event empowers Stanley; also the enjambment, ‘Don’t you come towards me another step or I’ll-‘, intensifies Blanche’s lack of power comparatively with Stanley’s. Similarly Albee shows men’s power through the ability to overpower; George asserts ‘I’d take you by force, right here on the living room rug.’ It is telling that at the end of the play he takes her to bed, after destroying her illusion. Albee also uses sexuality as a tool for battle, Martha says ‘I was necking with one of the guests’ in an attempt to antagonise her husband; his nonchalant response undermines her quest for power, ‘... Good... Good you go right on’.
Alfred Hitchcock’s favorite subject was the superficial placidity of American life, whose clean, bright surfaces disguised the most shockingly moral, political, psychological and sexual aberrations. For Hitchcock, the most striking, funny, and terrifying quality of American life was its confidence in its sheer ordinariness. Beneath the surface, ordinary people and normal life were always ‘bent’ for Hitchcock.
Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s barriers break down in a flash.
Laura and Nick are almost positive that they know what the true meaning of love is. They do not specifically define love, however, they express it through holding hands and smiling at each other. Each couple has their own reasons to believe that they have loved, yet they cannot clearly express why. The dialogue that occurs between Laura, Nick, Mel and Terri reveal a lot about their perception on love. For example, the way the characters interact with each other not only helps the reader to understand the author’s purpose of the essay, but also suggests that there be a relation between the story and intellectual, spiritual, and sensual love.
Hitchcock films the dining car scene in such a way that it makes it feel as though the audience is eavesdropping in on the flirtations of a newly acquainted couple, albeit with a twist. The dialogue portion of the scene begins with a medium shot of Thornhill and Eve seated, while still keeping both in frame during the first half of their conversation. This allows the audience to see a measure of the body language in addition to the faces of the characters. Of note is how Hitchcock bookends the dining car conversation with point of view (POV) shots, yet the POV shot is not used during the conversation between Thornhill and Eve (the first is of Eve when Thornhill recognizes her as the woman who helped him earlier, and the second of the two policemen as they board the train). Despite the scene taking place in a well-lit, crowded dining room.... ...
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.
Hitchcock employs plenty of unique visuals, including camera tricks that confuse depth perception, invasive close-ups, film noir lighting, and rapid cuts to show nudity with out showing nudity or extreme violence / killing without much blood. The movie “Psycho” was a first for several filmic elements making it sometimes more notable than effective. At its heart, however it’s a extreme thrilling murder/ mystery that boasts a climax unlike any other before its time. The suspense and anticipation are almost unbearable, keeping the ultimate, answers brilliantly stowed until the very
In the movie, Rear Window, Alfred Hitchcock uses the story of a cripple free lance photographer, Jeff Jeffries, to explain the twisted sense of society in the 1950’s. Hitchcock uses clever things from the way the apartments are being filmed to the dialogue between Jeffries, Lisa, and Stella to show societies interest in pain, tragedy, and discomfort, and in the end you see how tragedy is what makes everyone happy.
“Blue Velvet” is a 1986 mystery film directed by David Lynch. The main character of this movie is Jeffrey Beaumont, who has returned home from college after his father has a stroke. On his way home from visiting his father in the hospital, Jeffrey finds a severed human ear in a vacant field. Upon this discovery, he decides to take it to a detective in hopes to find out what had happened. The detective told Jeffrey that he can no longer disclose information about the ear, and after Jeffrey talks to the detective’s daughter (and Jeffrey’s love interest), Sandy, who knows about the investigation, he decides to investigate himself. This leads Jeffrey and Sandy to Dorothy’s apartment, an assumed murderer, where Jeffrey discovers Dorothy’s son and husband were kidnapped by an evil man named Frank and his gang. Frank soon discovers that Jeffrey had been at Dorothy’s apartment, and eventually injures Jeffrey. Jeffrey stops investigating but takes his evidence to Detective Williams, thus leading them both back to Dorothy’s apartment where they find Detective Johnson and Dorothy’s husband dead. Frank comes to the apartment at the same time Jeffrey is there, and Jeffrey shot him with the dead Detective’s pistol. Sandy and her father walk in,