More handpicked essays just for you.
Essay on the films of alfred hitchcock
Essay on the films of alfred hitchcock
Essay: hitchcock's movies and techniques
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Essay on the films of alfred hitchcock
Lighting: The director of this film Alfred Hitchcock was concerned about the goriness of the film and wanted it to be shot in black and white to soften the effect. The style of editing used in the shower scene is montage. Montage is the idea that joining two or more shots together in a certain order results in something greater than and different from the individual shots and that juxtaposition of different shots to convey meaning is more important than maintaining an illusion of continuity (Goodykoontz & Jacobs, 2014). Shots: The part when the knife was used in the shower was shot from different angles by the cameraman to get the effect of the knife slashing as if the audience was the ones getting slashed. The close-up of the water coming
out of the shower head was done by placing the camera directly in the middle of the stream of water. Transitions: The film has many transitions in it. The film starts out with her flushing the toilet then she takes her robe off and gets in the shower. Behind the shower curtain is the murderer walking in and then draws back the shower curtain with the knife in their hand. The music begins to play, and everyone knows something scary is about to take place. The women get stabbed and you can see her slowly sliding down the shower wall grabbing the shower curtain, while pulling it down as her body hangs over the tub. Her eyes are opened wide like the drain the water is going down.
In the movie Edward Scissorhands, a lot of different cinematic techniques are used. This movie mostly focuses on lighting, usually using darker low-key lighting throughout most of the film to create a darker, creepy tone. Low-key lighting is used mostly in scenes with Edward scissorhands in them, not as much with the girl. A good example of these low-key lighting scenes are the beginning ones, when the girl first enters Edward’s castle. The atmosphere inside is dark and creepy, adding to the already mysterious and dark tone of the movie. Another example of a scene with low-key lighting is the very beginning of the credits screen. The words are displayed in white with the rest of the background as a dark and evil setting. This already gives
The films of Alfred Hitchcock provide some of the best evidence in favor of the auteur theory. Hitchcock uses many techniques that act as signatures on his films, enabling the viewer to possess an understanding of any Hitchcock film before watching it. His most famous signature is his cameo appearance in each of his films, but Hitchcock also uses more technical signatures like doubling, visual contrast, and strategically placed music to create suspense.
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,
In the movie Edward Scissorhands, the dark and shadowy castle looks like something out of a horror movie. This is one of Tim Burton’s lighting techniques to make everything look grotesque and ominous. When Charlie’s house was being shown in Charlie and the Chocolate Factory, the house looked dark and hopeless. Charlie’s family doesn’t look sad at all though, in fact they are happy because even though they live in the worst house in the town, they have a home and a meal every night and they are one big happy
Young Frankenstein has important visual effects that bring to this film a well-rounded sense of both frivolity and campy thrill. Satirically embodying the older films, Young Frankenstein includes overly dramatic scene transitions such as iris outs, wipes, and “fading to black”, like all classic Hollywood horror films. In classic Hollywood horror, there are lightening flashes, villagers carrying torches and monsters moving in slow motion. The black and white filming technique of Young Frankenstein is one of the most essential elements to creating the film's vintage horror mise-en-scene, providing an air of authenticity to connecting this film to the earlier Frankenstein movies. (Burke quote involving scene:act)
1. The scene begins by fading in on the back of the silent man’s head (Cary Grant) in Alicia’s bungalow. Then the camera zooms out while sweeping right to give the first full shot and view of both of the main characters. They are shown seated at a table, with many empty bottles of liquor and glasses.
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.
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
For most aspects in life, we take lighting and general vision for granted. When we flick a switch we
When the montage is over we see a point-of-view shot of Richie’s hands resting on the sink, which is covered with his hair, headband, shaving cream, and wristbands. As the water from the tap runs through the sink, a river of blood runs down Richie’s forearm. The scene ends with a medium shot of Richie, who looks at himself in the mirror for a moment and the proceeds to sit down on the ground. The camera follows him and the volume of the soundtrack increases, which gives more tension to the moment.
Roman Polanski uses the camera throughout his film Knife in the Water to represent the numerous differences between the characters and specifically how he wanted them to be portrayed. Polanski uses the camera to bring the audience directly into the tense, energetic, and insightful nature of his scenes. Through these characteristics he is able to display these characters as dysfunctional, maybe even touching on similarities to many humans in society. Because of this, Polanski found great success in his specific uses of camera techniques and depictions of his characters. The detailed scenes found throughout Knife in the Water help illustrate the prevailing obsession, intensity, and discomfort hovering over the three characters.
The absolutely stunning film, Citizen Kane (1941), is one of the world’s most famous and highly renowned films. The film contains many remarkable scenes and cinematic techniques as well as innovations. Within this well-known film, Orson Welles (director) portrays many stylistic features and fundamentals of cinematography. The scene of Charles Foster Kane and his wife, Susan, at Xanadu shows the dominance that Kane bears over people in general as well as Susan specifically. Throughout the film, Orson Welles continues to convey the message of Susan’s inferiority to Mr. Kane. Also, Welles furthers the image of how demanding Kane is of Susan and many others. Mr. Welles conveys the message that Kane has suffered a hard life, and will continue to until death. Welles conveys many stylistic features as well as fundamentals of cinematography through use of light and darkness, staging and proxemics, personal theme development and materialism within the film, Citizen Kane.
Cinematography of Hitchcocks Psycho Alfred Hitchcock is renown as a master cinematographer (and editor), notwithstanding his overall brilliance in the craft of film. His choice of black and white film for 1960 was regarded within the film industry as unconventional since color was perhaps at least five years the new standard. But this worked tremendously well. After all, despite the typical filmgoer’s dislike for black and white film, Psycho is popularly heralded among film buffs as his finest cinematic achievement; so much so, that the man, a big
The scene utilizes long takes, point of view shots, split diopter, and the iconic Hitchcockian zolly shot to dramatize the events leading up to and subsequently, the shark attack itself. The establishing shot of the Amity Beach scene is
The climactic scene towards the end where Michael reveals he is a man is full of cuts, moves that go from one shot to the next. In the scene the camera jumps around between Michael giving his speech, the cameramen frantically moving to get the right angle, the director freaking out trying telling the cameras where to move, and the other actors reacting to his speech. A jump cut, a cut from one scene to the next when the time and place has changed in the next scene, is used when Dorothy is going with Julie to her Dad’s farm. The first clip has them on the train heading to farm in the mid afternoon and then the film jumps to the truck arriving on the farm in the evening. The movie also uses a montage, a collection of shots edited together to create a specific look and feel, to show Dorothy’s photoshoots and magazine covers she appears on. They show glimpses of her posing for different photoshoots, one in a red dress, one in a cowboy costume, one with a male model, and then they show the magazine or article with the photo on it. This helps to show how popular Dorothy is, and helps pass time in the movie to jump to the next important