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Alfred hitchcock film techniques Psycho
How hitchcock created suspense in psycho
Alfred hitchcock film techniques Psycho
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Hitchcock is a director who makes a movie suspenseful in his own way. He is know as “the master of suspense.” His movies have oftimes become classic of thriller and they are enjoyable to watch. One of the most enjoyable movie he has directed is North by Northwest. Hitchcock has directed movies like Strangers on the train, that have similar features as North By Northwest but the one that have more ratings and “has gone on to take its place as one of the best-loved films in motion picture history” (Ehrenstein par1) is North by Northwest. Most importantly, the setting, camera angle, sound, music is so powerful that it made the film stood out from other Hitchcock films. Even Robin Wood commends it for “its charms, its deftness, the constant flow …show more content…
The audience were left in suspense as the “slow establishing shot of the area emphasises Thornhill’s vulnerability in such an unfamiliar surroundings” (Onanuga par4). At first, the extreme-wide shot shows the crop duster moving around the surroundings, no one expected it to come after Thornhill because it was “full daylight, completely open space, and a very fast machine” (McGee, Stafford, Thompson par9). Moreover, “Thornhill has managed to charm, bribe or bluster his way out of whatever danger is about to befall him” (Onanuga par4), but surprisingly he didn’t not see this one coming, he was helpless, the medium shot allows the audience to see the dust all over his suit and the crop duster moving fast towards him. “Neither Thornhill nor the audience are still quite sure how to feel about the plane, which is getting closer and noisier all the time, and it is clearly not doing what it’s supposed to be” (Onanuga par7).
Hitchcock’s techniques in North by Northwest to create suspense is unquestionable, because we have seen some of the elements of the mise en scene and camera shots he used to keep the audience guessing throughout the film. The film is “the wittiest, most sophisticated thriller ever made” (Ehrenstein par1). The film have “extraordinary technical skill or martini-dry sense of fun” (Ehrenstein par2), therefore, it is clear that North by Northwest is one of the most suspenseful movies of all
Psycho is a suspense-horror film written by Joseph Stefano and directed by Alfred Hitchcock. This film was loosely adapted from Robert Bloch’s 1959 suspense novel, Psycho. A majority of the movie was filmed in 1960 at Universal Studios in Los Angeles. Psycho is about Marion Crane (Janet Leigh), a secretary from Arizona who steals $40,000 from her employer’s client. She takes that money and drives off to California to meet her lover Sam Loomis (John Gavin) in order to start a new life. After a long drive, she pulls off the main highway and ends up taking refuge at an isolated motel owned and managed by a deranged Norman Bates (Anthony Perkins). In Alfred Hitchcock’s film, Psycho, symbols, character and point of view are three literary aspects used in the film to manipulate the audience’s emotions and to build suspense in the film.
Hitchcock has characteristics as an auteur that is apparent in most of his films, as well as this one.
“Men want to be as lucky and enviable as he is—they want to be like him. And women imagine landing him.” The influence of North by Northwest on the action and spy film is immeasurable. It influenced the James Bond series, the Die Hard movies, and even science fiction films such as Total Recall. What Hitchcock did, basically, was create an action film of such quality that directors ever since have been trying to equal its success in story, action, and characterization.
{ Hitchcock never explicitly referred to or mentioned developments of the period or the ongoing political machinations that made daily news; and while he hardly stove to substantiate David Lehman’s claim for the overriding theme in Hitchcock’s America, that “paranoia is sometimes a reasonable response to events in a world of menace” (qtd in Pomerance 12). As pointed out by Marshall Deutelbaum Hitchcock’s films were diligently faithful in their representation of the look and style of American everyday reality and it repeatedly focused on 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.
One major attribute in Hitchcock films is how creatively Hitchcock tricks the audience about the fate of the characters and the sequence of events. Many people argue that it is a tactic by Hitchcock to surprise his audience in order to increase the suspense of the movie. For example, in Shadow of a Doubt, the audience assumes that young Charlie is an innocent young girl who loves her uncle dearly. However as the movie progresses, Young Charlie is not as innocent as the audience suspects. Young Charlie, once a guiltless child, ends up killing her evil uncle. In Vertigo, the same Hitchcock trickery takes place. In the beginning, the audience has the impression that the Blond women is possessed by another woman who is trying to kill her. The audience also has the notion that the detective is a happy man who will solve the murder case correctly. Just before the movie ends, the audience realizes that the detective was specifically hired by a man to kill his wife. The detective, in the end, seems to be the hopeless, sad victim.
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 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
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.
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.
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."
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.
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.
In Hitchcock's North by Northwest, the protagonist, Roger Thornhill, is placed in a precarious position when he is abducted after being mistaken for an F.B.I. agent by the name of Kaplan. The men who took him, under orders from a man named Vandamm, proceed to make attempts on his life for the remainder of the film. However, Roger manages to survive time after time despite the circumstances he was forced into. By evaluating three of Roger Thornhill's pivotal scenes in North by Northwest, it can be understood that Hitchcock intended to demonstrate that an individual is capable of controlling his or her own existence through individual choices, despite being placed in scenarios beyond his or her control.