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Film analysis alfred hitchcock
Film analysis alfred hitchcock
Film analysis alfred hitchcock
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Many tactics may be used to make a film successful. So much so, that films by certain directors can be identified by the usage of these tactics, or traits, that are found to be unique to the films they produce. One of the strategies that Alfred Hitchcock often employed would be to “Always make the audience suffer as much as possible.” The audience can suffer in many ways, such as when a film invokes a question to be asked, or emotion when they know something that the characters do not, which can add to the audience experience in a positive aspect. For a film to be successful, the filmmakers must try to meet or exceed the expectations of the majority. Often, expectations are not set in stone, which is why creativity is such a sought-after …show more content…
For example, the viewer is left partially in the dark as to what exactly the “39 steps” are, until the near end of the film. Hitchcock was able to employ this technique, partially due to the nature of the plot. Since the 39 steps was a government secret that the protagonist was attempting to guard, the viewer may have been content with having the question looming overhead throughout the movie. An added benefit to this, is that the viewer is ensnared, trapped, until the question is answered. Although some questions take the whole movie to be answered, others allow for nearly instant gratification, although some are never answered. For instance, when Mrs. Smith goes home with Mr. Hannay, the spectators are momentarily left to question what her motives are to go home with a stranger, or why she is behaving oddly. This question is rapidly answered. Some questions are never answered, such as the events that create fallout from the farmers wife’s innocent interactions with Mr. Hannay. Even though the farmer’s wife is not a developed character, the viewer is able to connect, and sympathize with her circumstances. It seems that there must be a balance of the types of questions proposed in a film. If all the predicaments are met with a solution, he audience would feel spoon fed, whereas if the audience walks away feeling entirely unanswered, they would feel they have wasted their time. In The 39 …show more content…
Such as when the audience is given a viewpoint that is advantageous to that of the characters. Often, a stereotypical scene that involves this tactic, would be in a horror movie, where something is in the closet, and the viewer almost begs the main character to not open the door. In the case of The 39 Steps, the viewer is given several scenes where they want to urge the character to take a different course of action. When Mr. Hannay finds out that there is substantial evidence that he committed the murder of the spy in his apartment, he is about to turn himself in, or explain what happened, to the police at the train station. The viewer is indeed suffering, as they watch him waffle back and forth. We know he is innocent, and can feel the suspense building inside Mr. Hannay, hoping that he is not revealed. Watching the characters make mistakes, is another form of making the audience suffer as much as
Hitchcock has characteristics as an auteur that is apparent in most of his films, as well as this one.
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.
Alfred Hitchcock’s unique sense of filmmaking and directing has allowed him to become a very famous and well known film maker of his time. He uses similar recurring themes, elements, and techniques in many of his films to engage the viewers in more than just the film, but the meaning and focus behind the story.
Alfred Hitchcock’s Vertigo is a thrilling film filled with mystery and suspense. However, Hitchcock left many unsolved issues at the end of this film. In contrast, when comparing Vertigo to more recent films of similar genre’, mysteries are usually always solved and thoroughly explained by the end of the film. Ironically, Hitchcock’s failure to explain everything to the audience in Vertigo is one of the film’s best attributes. This lack of knowledge allows the viewer to use their own imagination and speculate as to what might or might not have become of certain characters.
Alice decides to meet with an artist, Mr. Crewe, who invites her to his apartment and then assaults her. Alice stabs the man with a bread knife. She thinks he is dead, and escapes the crime scene. Later a man, Tracy, is accused for the murder of Mr. Crewe. Alice knows this could be unfair but fails to confess. In The 39 steps, Hannay is accused for the murder of Annabella Schmith. In The Lady Vanishes the idea of the wrong accused man is not that explicit, in fact in this film is shown the idea of the wrong woman, when someone in the train tells Alice that Miss Froy is back in the compartment and results to be Madame Kummar with the English lady´s clothes. Similarly in Rebecca the wrong woman is buried in the family grave while Rebecca´s body is in a boat in the bottom of the ocean, still in this film Maxim De Winter is wrongly accused for her death when is found that she was suicidal. The idea of wrongness in Hitchcock´s films is applied not only in terms of justice but also of relationships and the way the audience judges the characters. In the majority of the mentioned films the couple relationships at the beginning are form for convenience and are wrong in appearance, as the man is older than the woman and the relationship formed lacks of true feelings. Regarding the wrongness in the audience, Hitchcock manipulates the emotions and the information they receive, so that the characters are severely judge by the audience even though they are
Part of what makes Cooper’s unreliable narration work is the narrative expectations for suspense. Often called “The Master of Suspense,” Hitchcock was known for letting his viewers “play god” by giving them privileged information that the characters on screen don’t have in order to harness the audience's expectations and anticipation. Casetti described this as providing the audience with suspicion, the tools needed to construct a narrative and the motivations of characters (70). Since Cooper and Hitchcock withhold the correct information until near the end of the film they intentionally let viewer build the wrong story and experience a surprise deception. Surprise deceptions, such as the one found in Stage Fright, were not done in the Classic Hollywood Cinema and when paired with traditional models of trust in film open up many layers of exploration into the reaction of the
This was no news to Hitchcock's fans. In a 1947 press conference the great director laid out his philosophy of the mystery-horror genre: "I am to provide the public with beneficial shocks. Civilization has become so protective that we're no longer able to get our goose bumps instinctively. The only way to remove the numbness and revive our moral equilibrium is to use artificial means to bring about the shock. The best way to achieve that, it seems to me, is through a movie."
Everybody knows Alfred Hitchcock is the master of suspense and is known for inciting fear in the hearts of his audience. His multiple, fast cuts directs his audience to what he wants them to see and feel. Close-ups of the actors faces clearly shows what the characters are feeling and forces the audience to feel the same emotions. With all his expert directing skills, is there any meaning behind what he chooses to portray in his films or is it all for show? Could there be a deeper meaning to his films? The answer to these questions is a firm yes. Hitchcock’s past experiences guided him to be the director he was. The inadequateness of the police, control of all details in his films, and long stretches of no dialogue all portrayed in his films are all directly correlated to Hitchcock’s early life and early professional life.
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
Modern day horror films are very different from the first horror films which date back to the late nineteenth century, but the goal of shocking the audience is still the same. Over the course of its existence, the horror industry has had to innovate new ways to keep its viewers on the edge of their seats. Horror films are frightening films created solely to ignite anxiety and panic within the viewers. Dread and alarm summon deep fears by captivating the audience with a shocking, terrifying, and unpredictable finale that leaves the viewer stunned. (Horror Films)
The 39 Steps is a 2016 production presented by the SA State Theatre Company and performed in the Dunstan Playhouse. It is based off of the movie by Alfred Hitchcock, and was directed by Jon Haplin. The play is set in the 1940’s across the UK, and features the main themes of love, mystery and heroism. The play stars Nathan Page, Anna Steen, Charles Mayer and Tim Overton.
Alfred Hitchcock has built suspense to create engagement. This is exemplified through the use of non-diegetic dramatic score music to foreshadow the mystery of the narrative and explicitly establishes the genre of the film - Thriller. Through the non-diegetic music, the audience feel suspense as they do not know what has triggered the disequilibrium. This keeps the viewers at the edge of their seats.
“Entertainment has to come hand in hand with a little bit of medicine, some people go to the movies to be reminded that everything’s okay. I don’t make those kinds of movies. That, to me, is a lie. Everything’s not okay.” - David Fincher. David Fincher is the director that I am choosing to homage for a number of reasons. I personally find his movies to be some of the deepest, most well made, and beautiful films in recent memory. However it is Fincher’s take on story telling and filmmaking in general that causes me to admire his films so much. This quote exemplifies that, and is something that I whole-heartedly agree with. I am and have always been extremely opinionated and open about my views on the world and I believe that artists have a responsibility to do what they can with their art to help improve the culture that they are helping to create. In this paper I will try to outline exactly how Fincher creates the masterpieces that he does and what I can take from that and apply to my films.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...