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Rope alfred hitchcock analysis
Representation of gays/lesbians in cinema
Representation of gays/lesbians in cinema
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On May 21, 1924, two highly intelligent university scholars from Chicago, Richard Loeb and Nathan Leopold, executed their highly-calculated plan for the cold-blooded murder of a distant relative of Loebπs, 14-year old Bobby Franks. As students of Nietzscheπs philosophy, Loeb and Leopold had set out to commit the ≥perfect murder≤ in order to actualize the belief that they were of an elite group, superior to the common man, to whom the standard moral code did not apply. So infamous is the story of their murder and eventual detainment that it has become entrenched in American popular culture, with numerous books and films aspiring to recreate it in vivid detail. Amongst these, Alfred Hitchcockπs Rope (1948) stands out as an exemplary achievement both in its cinematic technique as well as its carefully executed plot, which exposes the psychological decomposition of the two murderers as their deed is gradually discovered. However, the aspect of the real case that is not explicitly addressed in the film as a result of the censorship codes at the time, but one of the primary reasons that Hitchcock was initially attracted to the project, is the homosexuality of the two young men, a factor which becomes pivotal to a Freudian interpretation of the film. It is the shifting and complicated dynamic between their aggression and, more fundamentally, their frustrated homosexual desires which explains the depravity of their actions.
Strewn throughout Rope are many indications that underlying the ostensible story of a murder are unfulfilled homosexual desires of such an intensity that the dialogue and actions of Brandon and Phillip, the names of the two murderers in the film, unintentionally ...
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...oing so without danger. If the loss is not compensated for economically, one can be certain that serious disorders will ensue≤ (742). Because society prevented them from gratifying their erotic instincts, the boys had to find other means of maintaining their psychic equilibrium, which, in their case, brought with it only deadly results.
References:
Freud, Sigmund. "Civilizations and Its Discontents." The Freud Reader. Ed. Peter Gay. New
York: W.W. Norton & Company, Inc., 1989.
Linder, Douglas O. ≥The Leopold and Loeb Trial: A Brief Account.≤ Famous American Trials.
1997. November 2, 2004.
Rope. Dir. Alfred Hitchcock. Perfs. James Stewart, Rupert Cadell, John Dall. Videocassette.
Warner Brothers & Transatlantic Pictures, 1948.
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.
Throughout the tale of time, thoughts of revenge have corrupted even the most innocent of minds. In Andre Dubus’ “Killings”, Matt Fowler is conflicted by two opposing forces: his own desire and his wife’s demand for the death of their son’s murderer. Through her manipulative words and her emotional meltdowns, Matt Fowler ultimately succumbs to his wife’s request and commits the gruesome act, which causes the audience to reevaluate the appropriateness and cost of vigilante justice.
Alfred Hitchcock’s films not only permanently scar the brains of his viewers but also addict them to his suspense. Hitchcock’s films lure you in like a trap, he tells the audience what the characters don’t know and tortures them with the anticipation of what’s going to happen.
Boyle and Hemingway use the same three elements of fiction to tell the story; both stories are written about pregnancy, abortion, and manipulation; on the other hand, they have their difference because their main characters differ in maturity. One wonder about up to what degree is abortion considered to be a crime. Both couple considered the same crime, although China and Jeremy’s actions are unthinkable to the eyes of the reader.
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
Adapted from the novella written by James M. Cain, Double Indemnity is a melodramatic film noir that highlights the conflict its characters face through adultery and murder which develops from the dissatisfaction and alienation that arose in the era of modernity as shown in most noir films. Unlike most noir films, Double Indemnity set the bar in terms of structural themes to follow and elements that eventually came to be considered essential in the noir genre. The film was seen to be a full embodiment of what the genre should be. Double Indemnity is an archetypal noir film, which portrays noir elements through its style, the characters, its writers’ backstory and the history of Los Angeles, the city in which it is set. This essay will examine how Los Angeles is integrated not only into the location but also into the storyline of the characters and their motivations but also the filmmakers’ lives. It does this through characteristic noir motifs like “the urban cultural landscape, the lack of rootedness of the characters, and the self-deceptions that center their world” (p. 437) affect the protagonists in the film. Double Indemnity’s use of Los Angeles as its primary location exposes the innate decadence and decay of the city through film noir stylistic elements. Billy Wilder directed Double Indemnity and the film became the archetypal noir film because it embodied all the characteristics of a typical noir film, which include “claustrophobia, paranoia, despair and nihilism” (Place and Peterson, p. 327) course kit source. Los Angeles, the city used primarily as the location in the film becomes not merely a backdrop but a character in the film through its physical and implied characteristics. The context through the stories of Wild...
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.
In the movie Rope directed by Alfred Hitchcock, two students, Brandon Shaw and Phillip Morgan, set out to commit the perfect murder which has been inspired by their college philosophy professor Rupert Cadell. The victim of their choice was another student, who they viewed as inferior to them, David Kentley. After committing this crime, they decide to throw a dinner party inviting David’s close friends and relatives, and Phillip. They hide David’s body in a casket-sized
In The Murder of Helen Jewett, Patricia Cohen uses one of the most trivial murders during the 1800’s to illustrate the sexiest society accommodations to the privileged, hypocritical tunneled views toward sexual behavior, and the exploitation of legal codes, use of tabloid journalism, and politics. Taking the fact that woman was made from taking a rib from man was more than biblical knowledge, but incorporated into the male belief that a woman’s place is determined by the man. Helen had the proper rearing a maid servant, but how did she fall so far from grace. Judge Weston properly takes credit for rearing her with the proper strictness and education. Was Helen seduced at an early age and introduced to sexual perversions that were more persuasive that the bible belt life that the Weston’s tried to live? Was Helen simply a woman who knew how to use what she had to get what she wanted? Through personal correspondence, legal documentation, census reports, paintings, and newspapers we are able to make our own determinations. Cohen provides more than enough background and history to allow any one to make their own opinion how the murder of a woman could be turned into a side show at a circus.
In Hitchcock’s narrative structure, he focuses on relationships. The relationship between society and their thoughts of morality, guilt and innocence. In the film, we never witness a murder, only the outcome of them. What we do see are the reactions to the killings. Every single week, the newspapers write
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.
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...
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
The Marquis de Sade led a lifestyle that disgusted some but influenced others. “This was a life, then, of swashbuckling adventure, narrow escapes, wild abandon, and bloody crime” (Lever, introduction on front flap). He is famous for coining the term “sadism” from his known love for sexual violence in his own life and literature. The Marquis’ own libertine values, which allowed for him to escape the moral restraints of law and religion, allowed for his life and works of literature to challenge censorship.
This stage of the psychosexual development allowed the child's sexual desires and conflict to repress. The child's ego was relatively free from the interference by the id impulsive but at the same time still need to be managed for they were still growing. They tended to control these desires through extracurricular and socially acceptable activities such as school, sports, arts, and technological distractions; and there was to be no penalty for fixation at this stage.