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Rear window alfred hitchcock analysis
Rear window alfred hitchcock analysis
Psycho hitchcock analysis
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Hitchcock, The Artist
“Shadow of a Doubt” was one of those movies I would flip right past if it happened to be on television. If I knew that it was a Hitchcock film, perhaps I’d pause for a few seconds to see if it looked scary. If it didn’t captivate me within those few seconds, I’d cruise right by until I found MTV. But, being somewhat forced to watch “Shadow of a Doubt” in class, I had no choice other than to buckle down and pay attention. I was pleasantly surprised. I expected some twists and turns, since it is an Alfred Hitchcock film. I didn’t expect the suspense or the romance. It was surprisingly entertaining in both plot and dialogue. I could tell by the many different film elements that this was a trademark Hitchcock film. “Shadow of a Doubt” is an Alfred Hitchcock work of art, because of its originality, openness to interpretation, and different approach to suspense.
“A work of art” is defined by Encarta Encyclopedia Online as “something made or done exceptionally well.” This film was unquestionably done well, if not exceptionally well. But, what does “done well” mean? I think it means that the work is completed fully with the best efforts of everyone involved. Not only is it fully researched, but meticulously planned and painstakingly designed. Therefore, the work in question is more like a child to those who created it, rather than a work of art. It contains their blood, sweat, and tears, and maybe a little insight into their minds. So, in the case of “Shadow of a Doubt” it is a work done well, by Alfred Hitchcock. Hitchcock was quoted in a 1998 review of “Shadow of a Doubt”, by Ted Prigge as saying “he enjoyed playing the audience like a piano.” Hitchcock did this almost effortlessly in this film (1). He had the ability to scare people, without shoving horror down their throats. It's what separated him from any other director of suspense: he knew the secret to scaring people was preying on real human emotions (1). His subtlety is what took “Shadow of a Doubt” from an everyday movie to an intricate thriller.
Movies of the past had a different approach to scaring the audience. In the 20th century, scary movies were more than entertainment. They were designed to lure the viewer into buying the action figures and tee shirts that the movie had spawned.
Hitchcock has a way of throwing clues in the face of the spectator, yet still allows some room for the spectator to find their own less obvious details. In the same museum scene, Hitchcock shows the viewer exactly what he wants them to see. In a sense, Hitchcock can be very manipulative with the camera. The audience sees the picture containing the women with a curl in her hair holding flowers, and then the direct connection is made by the camera, by showing the curl in Madeline’s hair, and the flowers sitting next to her. The spectator is led to believe that they have solved the mystery and she is truly possessed by the women in the picture. However, Hitchcock does this on purpose to lead the audience away from the truth that she is only acting. It is for these reasons that Hitchcock’s work at an auteur adds a level of depth and intrigue.
Alfred Hitchcock's 1954 ‘Rear Window' is a brilliant crime-thriller film that shows the true human nature and how obsessive human curiosity and voyeurism humans can be and to what extent it will take you. The film in itself is a masterpiece that is full of symbolism, narratives, voyeurism, and characterisation. It shows Hitchcock's as a strong auteur by creating it in a way in which he uses similar themes that are previously recognized thought his many movies. He also uses specific signature themes, such as; character parallels and heavy use of vertical lines, as well as an active protagonist. In the film, it mainly focuses on the main protagonist Jefferies, who is a photographer who recently went through an accident and is now restricted to
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.
As the credits roll we see the blinds of a three-pane window slowly being lifted up, after they finish the camera moves forward revealing to our gaze the reality on the other side of the open window. It faces the back of many other buildings, the courtyard they enclose, and a sliver view of the backstreet. More importantly, it faces many other windows just like it. Behind each one of those there are people, going about their day, doing mundane tasks, unaware of being observed. In his 1954 movie “Rear Window” Alfred Hitchcock invites us to engage in the guilt free observation of the lives of others. The main character, photographer L. B. Jefferies, is home stuck with a broken leg encased in a cast that goes all the way to his hip, providing the perfect excuse for him to amuse himself in this hot Manhattan summer by engaging in the seemly harmless act of looking into the many windows he can see from his back apartment. Casual, harmless, voyeurism has been part of the human behavior for ages but in the sixty years since the movie was released it has gained increasing traction. Reality television, Movies, TV shows, YouTube, blogging, Instagram and Facebook are examples of modern tools that allow us to engage in the observation of others while remaining protectively hidden from their returning gaze. In its essence the casual voyeuristic actions we engage in while observing others when using these new media tools follows the same pattern of behavior described in the movie, with the same positive and negative consequences. Casual voyeurism distinguishes itself from pathological voyeurism, which is characterized by a preference in obtaining sexual gratification only from spying others, by the removal of the sexual component from the equat...
To begin with, some people would say they enjoy a horror movie that gets them scared out of their wits. They go see these movies once a month on average, for fun, each time choosing a newer sequel like “Final Destination” or “The evil Dead”. King says “When we pay our four or five bucks and seat ourselves at tenth-row center in a theater showing a horror movie we are daring the nightmare” (405). As a writer of best-sel...
“I did one thing in that picture that I should never have done, to put in a flashback that was a lie”
Shadow of a Doubt is an Alfred Hitchcock film that was shot on location in the 1940's town of Santa Rosa, California. The town itself is representative of the ideal of American society. However, hidden within this picturesque community dark corruption threatens to engulf a family. The tale revolves around Uncle Charlie, a psychotic killer whose namesake niece, a teenager girl named Charlie, is emotionally thrilled by her Uncles arrival. However her opinion slowly changes as she probes into her mysterious uncle. In the film, director/producer Alfred Hitchcock blends conventions of film noir with those of a small town domestic comedy as a means of commenting on the contradictions in American values.
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.
In Shadow of a Doubt, Hitchcock utilizes and stretches the ambiguous line between comedy and suspense by utilizing smaller characters in the film to keep the story line moving, and to help break sequence or rhythm of what the audience had been perceiving at the time. Many of the minor characters were used as “fillers”, such as the waitress in the bar when Uncle Charlie and Charlie are sitting in the bar, and makes the comment “I would die for a ring like this”; or the quiet, gentle neighbor Herb who is fascinated with the process of homicide and murder. It brings to the audience an immediate comic relief, but similar to all of Hitchcock, leaves an unsettling feeling of fear and suspense with the viewer. Shadow of a Doubt is a film that hits very close to home for me, primarily because of the small town feel very similar to Orono that I have grown to know so well. There is a brutal irony that lurks through the film, especially during the time period that the film was made. The picturesque stereotype of small town life in the 40’s is brutally torn apart by Hitchcock wit and creative ingénue, putting the viewer in an uncomfortable mind stretch of reality.
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
There are two Hitchcock films that are similar in contrast which are “Rear Window” and “Shadow of a Doubt”. Something that I enjoy the most about these two films are the action. They both share the same mystery and action. For example in “Rear Window” the main character Jeff was a journalist, during some picture taking he broke his leg. He was in a cast the whole movie, the only thing he did was sit in his wheelchair and look out the window at his neighbors. Just about all of the characters were viewed from a distance, but three. These three are Jeff who is the main character, his girlfriend Lisa, and Mr. Thorwald.
People are addicted to the synthetic feeling of being terrified. 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.
The audience and Jefferies have been tricked into believing that something is hidden there but nothing is actually found. The McGuffin in “The Shadow of the Doubt” is the scene when two detectives visit young Charlie and tell her that the murderer has died in an aeroplane accident. That man had the same initials as Uncle Charlie, which is Hitchcock misleading the audience into believing that the man is actually
A very important component of the auteur theory is the production and how closely related many of the director’s films are to one another. One of the many parallels throughout Hitchcock’s movies, is that
The film The Birds (1963), by Alfred Hitchcock, is a brilliant illustration of a horror film. The strategy of a horror film is to ensure that the audience will experience some type of suspense or terror. The use of the horror genre would be an appropriate method to present The Birds. True to the horror genre, the use of cinematography and sound were put to effective use for design of fear. Hitchcock uses a varied selection of camerawork to capture the fear and suspense which unfolds the subsequent horror provoked by the sight of a mere bird.