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Exploring genre in film
Essay on the films of alfred hitchcock
Essay on the films of alfred hitchcock
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Recommended: Exploring genre in film
Films are about some topics or themes and involve different types of characters. Many filmmakers use a variety of techniques to convey their messages. The choice on the type of the techniques depends on the theme of the film and how effective the filmmakers want to communicate their ideas. This essay aims at illuminating theme and technique in films basing its argument on Alfred Hitchcock’s movies; Notorious movie, Rope, and Strangers on the Train. Alfred Hitchcock was a director of movies and his place in the film studies is unrivalled. He is famously known due to his brilliant plots, witty dialogue, and his ability to tell stories visually. This unique ability brought a new revolution in the film industry that made him become a very influential person in this industry.
Films, as representations of life, occasionally offer moral dilemmas, which are as difficult to resolve as those in real lives. In these movies, the characters find themselves in different situations that put them in a dilemma. The first movie, Notorious, revolved around the themes of love and murder. The movie was made in 1946, at the end of the Second World War. Alicia Huberman, the main character, is recruited by the government to investigate Nazi organizations that had relocated from Germany following the Second World War. Before, Alicia leaves for her assignment, she falls in love with Delvin, who is a government agent. Delvin wishes that Alicia was not given the takes, but he fails to convince his superiors that she could not handle the job effectively.
Alicia at last starts her assignment and she meets with Sebastian, who is one of the Nazi members. Sabastian, early before, was in love with Alicia, but they had parted ways over the time. When they at l...
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... he has control over the audience (Carroll 2000).
In the movie Notorious, fear is created when Sabastian unites again with Alicia. Sabastian does not know that Alicia is a spy who is investigating their group. The audience keeps wondering what will happen when Sabastian discoveries that Alicia is a spy and what he would do to her. Hitchcock is able to manipulate the audience from the beginning to the end of the movies (Bordwell 2009).
This essay has illuminated theme and technique in films basing its argument on Alfred Hitchcock’s movies; Notorious movie, Rope, and Strangers on the Train. The three movies revolve around the theme of murder in the society. Though it is based on imagination, the movies present some of the dilemmas faced by people in real life. Hitchcock uses manipulation of the audience in these movies in order to effectively convey his message.
Film Noir, as Paul Schrader integrates in his essay ‘Notes on Film Noir,’ reflects a marked phase in the history of films denoting a peculiar style observed during that period. More specifically, Film Noir is defined by intricate qualities like tone and mood, rather than generic compositions, settings and presentation. Just as ‘genre’ categorizes films on the basis of common occurrences of iconographic elements in a certain way, ‘style’ acts as the paradox that exemplifies the generality and singularity at the same time, in Film Noir, through the notion of morality. In other words, Film Noir is a genre that exquisitely entwines theme and style, and henceforth sheds light on individual difference in perception of a common phenomenon. Pertaining
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.
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
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.
Run Lola Run, is a German film about a twenty-something woman (Lola) who has 20 minutes to find $100,000 or her love (Manni) will be killed. The search for the money is played through once with a fatal ending and one would think the movie was over but then it is shown again as if it had happened ten seconds later and changed everything. It is then played out one last time. After the first and second sequence, there is a red hued, narrative bridge. There are several purposes of those bridges that affect the movie as a whole. The film Run Lola Run can be analyzed by using the four elements of mise-en scene. Mise-en-scene refers to the aspects of film that overlap with the art of the theater. Mise-en-scene pertains to setting, lighting, costume, and acting style. For the purpose of this paper, I plan on comparing the setting, costume, lighting, and acting style in the first red hued, bridge to that of the robbery scene. Through this analysis, I plan to prove that the purpose of the narrative bridge in the film was not only to provide a segue from the first sequence to the second, but also to show a different side of personality within the main characters.
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.
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.
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.
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.
Think about your favorite movie. When watching that movie, was there anything about the style of the movie that makes it your favorite? Have you ever thought about why that movie is just so darn good? The answer is because of the the Auteur. An Auteur is the artists behind the movie. They have and individual style and control over all elements of production, which make their movies exclusively unique. If you could put a finger on who the director of a movie is without even seeing the whole film, then the person that made the movie is most likely an auteur director. They have a unique stamp on each of their movies. This essay will be covering Martin Scorsese, you will soon find out that he is one of the best auteur directors in the film industry. This paper will include, but is not limited to two of his movies, Good Fellas, and The Wolf of Wall Street. We will also cover the details on what makes Martin Scorsese's movies unique, such as the common themes, recurring motifs, and filming practices found in their work. Then on
With this short but very interesting and informative class I have just scratched the surface of the what it takes to make a full fleged film. It takes much more than I had presumed to make a movie in Hollywood. The number of people that it takes to make a minute of a movie let alone the entire movie was astonishing to me. There are many things that it takes to start making a movie but without an idea of some sort there is no movie to be made.
“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...