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Genres of movies essay
Genres of movies essay
Works of Alfred Hitchcock an Analysis
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The films of Alfred Hitchcock, as even the most casual cinephile knows, manage to blend the comic, romantic, tragic, and political, all with a captivating thriller plot. The 39 Steps and The Lady Vanishes, two works from the 1930s, are no exception. In the former, a Canadian man is charged with the task of carrying a secret into Scotland while on the run from the police; in the latter, an older woman disappears, leaving a bewildered young lady who uncovers a foreign spy ring while trying to find her. However, despite the fact that both of these plots contain dominant thriller elements, and stem from the same part of Hitchcock’s career, they are by no means interchangeable. From visuals to characters, these are entirely different works. As such, one of the best places to compare and contrast is in the films’ opening sequences, where Hitchcock sets up for the intense action to follow. In The 39 Steps and Lady Vanishes, both introductory sequences work to capture the viewer’s attention before the thrills begin; however, close analysis reveals that Hitchcock handles them quite diff...
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".
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’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.
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...
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.
Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s barriers break down in a flash.
Alfred Hitchcock’s film North by Northwest (1959) is famed as a classic man-on-the-run thriller, following protagonist Roger Thornhill as he flees across state lines in a mad dash to save his life and unravel the mystery of his extraordinary predicament. However, mid-way through the film Thornhill’s quandary is further complicated by the introduction of Eve Kendall, a beautiful yet mysterious woman he encounters on a train during his escape from the authorities and people trying to kill him. During the dining room scene on the train, Hitchcock expertly uses the camera to convey the characters thoughts and feelings. Interestingly, in a film that has several sequences with complicated cinematography and editing, the dining car scene is rather reserved in comparison. Hitchcock uses nominal mise-en-scène elements and instead elects to focus the camera largely on the subtleties in the performances of the actors.
Hitchcock’s filming style revolves around immersing the audience and making them work when they enter a theater and watch one of his films. The ways in which cinematic elements are used like: camera placement, editing, point of view, subjectivity and objectivity work together in ways that evoke certain emotions, while also making choices that make you question why and wonder what in the world Hitchcock is getting at. In 39 Steps, there are shadows of the young Hitchcock’s budding brilliance, and meticulous decision making, causing the audience to become spellbound. Meanwhile Shadow of a Doubt takes clear steps to snatch the moviegoer from their seat, placing them right in the center, helpless against evil.
In light of John Buchan’s The 39 Steps, there have been various adaptions that seek to refine the classic spy novel, famous among them being Alfred Hitchcock’s 1935 version. Alfred Hitchcock sought to take John Buchan’s novel and added flourishes of his directorial style. These flourishes include themes of alluring female characters, ordinary individuals in extraordinary situations, and institutional failure. In that respect, Hitchcock’s version considerably diverges from that of Buchan’s novel in terms of plot, characterization, and pace. Furthermore, the historical significance of Alfred Hitchcock’s version is amplified within the context of the thirties seeing the rise of fascism and authoritarian regimes that would elicit such paranoia and fear. As such, Alfred Hitchcock’s version is a greater introduction to the theme of espionage in twentieth-century popular culture due to its emphasis on suspense, relatability, and spy tactics which makes it the stronger work in comparison to Buchan’s version.
To this day Rope, Alfred Hitchcock’s first color film, remains one of the most original motion picture dramas. With the exception of the opening credits, Rope was shot on one individual set located within a soundstage, similar to as if a play was being performed on stage. Despite the confined space the film occupied, the atmospheric anxiety carried on up until the very end. Furthermore, Hitchcock successfully created a deception, of the same repetitive shot. Nonetheless, during the one hundred and eight minute film, it’s hard not to notice the closeness Phillip and Brandon shared sexually together, making them homosexuals.