For my short paper essay assignment, I decided to write about Strangers on a Train, which is a film directed by Alfred Hitchcock and released in 1951. The story is about two strangers that meet on a train. Those men’s names were Guy Haines and Bruno Anthony. Guy is a professional tennis player and he is married. His wife’s name is Mariam, but he wants a divorce with Mariam because he loves another woman. Bruno Anthony is the other stranger, slightly psychotic, hating his father and wanting to kill him. The movie runs for 1 hour and 45 minutes. Now, in this paper, I will try to analyze Hitchcock’s filming techniques, setting, suspense, camera shots, character plot and theme on this movie. In Strangers on a Train, I think Guy is guilty because he wanted Miriam dead. On the other hand, guilt is the one thing that weakens Bruno. The audience sees, in the senator’s house in party meeting, when Bruno saw Barbara he felt guilty and confused because Barbra was similar to Miriam when she has her glasses on. In general, both Guy and Bruno fluctuates between guilt and innocence, especially Bruno because he did not get any benefit, because Guy he refused to kill Bruno father, even though he killed Miriam and finally he also died. In this film, there are signs of possible homosexuality in Bruno. For example, in his smooth, slightly effeminate way of speaking when he says, “Guy, I can do anything for you. I like you.” His care about his nails and his colorful shoes: all of these behaviors would indicate that he is gay. As for Guy, it’s really hard to decide if he is gay or not. It depends on the interpretation of the audience. If we consider his weak relationship with Anna, maybe we can categorize him as gay. On other hand,... ... middle of paper ... ...t includes several themes, stylistic patterns and plot elements that are characteristic of Hitchcock's style. The lighter was the most important object in this film. In general, Bruno he is very distractive character in this film and Guy is very weak person he can’t decide anything in his life. For this reason Bruno he played in Guy life by. I wish Bruno was unable to reach the lighter when it felt in the swear but he picked up after multiple time trial. However after Bruno death the police found out the lighter in his hand and Guy not found guilty. In other words, in this movie my view of point for Bruno was same as Norman in Psycho Hitchcock film. Works Cited Wood, R. (1986). Stringers on a Train. In M.Deutelbaum & L.Poague ( Eds).& A Hitchcock Reader (2nd Ed.).(pp.172-181). Amos, IA: Iowa University press.
Rear Window effectively demonstrates Hitchcock’s strong qualities as an author. The writer for Rear Window is not Hitchcock, and yet there are clearly many motifs and themes present which are well known for being used by Hitchcock. He is not merely following instructions on how to make the movie; he is providing his own creative adjustments. Now we will address a few of these from the film. First, drawing parallels between characters with a difference, usually a negative one, is a repeated concept in Hitchcock films.
While the adults show their disgust and hatred to the Jews, Bruno doesn't mind them and is nice to Pavel, the Jew that got him the tire, and later becomes friends with Shmuel. Bruno’s father is a soldier and is in charge of the concentration camp. Even with all the Jew hating Germans around him, he still goes out to visit Shmuel and doesn’t let them ruin his friendship. Near the end of the movie Bruno shows his friend how much he cares by entering the camp to help look for Shmuel’s father, who had gone missing. While entering the camp, Bruno learned first hand how bad the camps actually were and wished he hadn’t come. Even with these feelings he still wants to help his friend, which eventually leads to his demise.
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".
Gunning begins this article by referring to the “myth” of frightened audience screaming in horror at the image of a train approaching the screen, a film by the Lumiere Brothers titled Arrival of a Train. He proceeds to claim that these so called myths were about the audiences screaming due to being frightened by an image of an oncoming train, and that some audience members ran out of the cinema in terror. He begins to disprove this claim by providing context of the newer technology in cinema and the time era they were produced. As argued by Gunning, the audiences of the cinema were made up of audiences far more sophisticated than many modern film theorists would like to admit. Gunning points out that audiences were not only used to the illusionism of the cinema, but were indeed avid to actually consume it in that fashion. Far from being frightened enough to actually flee from the approaching cinematic train, the
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.
All directors of major motion pictures have specific styles or signatures that they add in their work. Alfred Hitchcock, one of the greatest directors of all time, has a particularly unique style in the way he creates his films. Film analyzers classify his distinctive style as the “Alfred Hitchcock signature”. Hitchcock’s signatures vary from his cameo appearances to his portrayal of a specific character. Two perfect examples of how Hitchcock implements his infamous “signatures” are in the movies, A Shadow of a Doubt and Vertigo. In these movies, numerous examples show how Hitchcock exclusively develops his imagination in his films.
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
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
November 1998, written for FILM 220: Aspects of Criticism. This is a 24-week course for second-year students, examining methods of critical analysis, interpretation and evaluation. The final assignment was simply to write a 1000-word critical essay on a film seen in class during the final six-weeks of the course. Students were expected to draw on concepts they had studied over the length of the course.
As the paradigm in which this curiosity is exposed inhabit the human being, that voyeurism that uncounted of us have inside. Hitchcock is able to use this element to catch the spectator, building a devilish and fascinating tale of suspense set in a microcosm. In which there reflects the intimate and daily life of the current man, where the protagonist observes from his window. The viewer sees what Jeff (the protagonist) observes, has the sensation of being the protagonist, observing through his window.
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.
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.
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.
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 world of cinema, there’s almost always a discussion regarding what scenes would be suitable for the grasping imagination of any audience, young or old. Alfred Hitchcock’s 1960 film, Psycho, sparked a plug for the movie industry as it was the first movie of its kind to display such graphic scenes of sex and violence to a worldwide audience.