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How does vertigo show the auteur signature of Alfred Hitchcock
Alfred hitchcock vertigo analysis
Hitchcock auture signitures in vertigo
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VERTIGO
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.
Vertigo boasted several different themes. However, the “Ideal Woman – Lost” theme was the most prevalent (“Handout #1”). This theme was brought on by an obsessed “everyman” type. Jimmy Stewart, otherwise known as Scottie in the film, played this “everyman” type whose personality was maliciously twisted into an overly obsessive man. His cause for obsession was a beautiful, young woman played by Kim Novak, known as both Madeleine and Judy in the film. Madeleine drew Scottie in so deep, that he literally became a different person. This film mirrored Hitchcock’s personal feelings and was considered to be his favorite film.
While there are many scenes that prove the above theme, the following are three specific scenes that clearly spell out Scottie’s obsession. The scene where Scottie was sitting in his car alone after dropping Midge off at her home is a good first example. Midge and Scottie had just spent an afternoon together researching Carlotta Valdes’ history. Before Midge got out of the car she told Scottie, much to his dismay, that she was going view Carlotta’s portrait at the museum. As soon as Midge got out of the car, Scottie pulled out his brochure from the museum and turned to the page that hosted Carlotta’s portrait. As he stared at her picture for several moments, he began to visualize Madeleine’s face. Clearly this was one of the first signs of his growing obsession. An old college buddy hired Scottie to follow his wife, Madeleine, to discover where she was “wandering” off to. However, this job was consuming his life and Scottie was developing a serious intrigue for Madeleine, a very mysterious woman.
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...of a character. Hitchcock does an excellent job at relaying Scottie’s swelling obsession to his viewers. Visualizing Madeleine while Scottie was looking at the picture of Carlotta, his invasion of Madeleine’s personal space, a so-called stranger, and whispering her name, and then trying to makeover Judy into another person who is supposedly dead are all very apparent signs of obsession. These signs successfully show the viewer that Scottie is thoroughly engrossed with his subject, Madeleine, who had been “lost”. The viewer is left to assume that Scottie will be unable to return to the emotionally stable person he was before the obsession took control of his life. Alfred Hitchcock was definitely ahead of his time and paved the way for many film-makers to learn from and expand on his expertise of being able to reach an audience, capture their attention, and make the audience feel what the characters are feeling.
Works Cited
Handout #1: Alfred Hitchcock & Notes on Vertigo
Giannetti, Louis. Understanding Movies. 8th ed. New Jersey: Simon & Schuster,
1999.
Stewart, James, perf. Vertigo. Dir. Alfred Hitchcock. Perf. James Steward, Kim
Novak. Universal Pictures, 1958.
In order to suit his needs Hitchcock transports the locale of Vertigo (1958) to the most vertical San Francisco city where the vertiginous geometry of the place entirely threatens verticality itself. The city with its steep hills, sudden rises and falls, of high climbs, dizzying drops is most appropriate for the vertiginous circularity of the film. The city is poised between a romantic Victorian past and the rush of present day life. We were able to see the wild chase of Scottie Ferguson (James Stewart) in search for the elusive Madeleine Elster (Kim Novak) and the ghost who haunts her, Carlotta Valdes in such spots as the Palace of the Legion of Honor, the underside of the Golden Gate Bridge at Fort Point, the Mission Dolores, Ernie’s restaurant,
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.
Throughout the years, many directors have been making movies that seem to "scare the hell out of people." From thrilling to suspenseful scenes, Alfred Hitchcock explores different techniques to ensure that he captures the audience's attention. The characters in Hitchcock's films play a very important role in creating the tensions and twists, causing that heart-stopping moment where you just want to yell at the TV. He uses the characters to strategically place chess pieces, knowing exactly when to make his move. Alfred Hitchcock was a very scared person in life, which ironically led him to be one of the greatest directors for thrillers and perhaps horrors.
Hitchcock’s use of doubles is apparent throughout most of his films. In Vertigo, the image of Madeline and Scotty’s passionate embrace is repeated several times during the film. In Scotty’s life, Hitchcock also places many instances of doubles, such as the two women he loves, Madeline’s dual roles as two different women throughout the plot, and the two identical deaths of the women he witnesses. Doubling is also apparent between Madeline and the fictional Carlotta, especially in the scene in the art museum, where the flowers, the hairstyle, and the position of Madelin...
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.
A well-known and widely enjoyed characteristic of Hitchcock films are his brief cameo appearances, usually shown early on in each film. Oftentimes, Hitchcock crosses the shot like in Vertigo, around 11 minutes into the film, Scottie goes to the shipyard to meet Mr. Elster and a man, Hitchcock passes by holding a horn instrument case, or when he enters a bus during the opening credits of North by Northwest, only to have the doors close in his face. There are also instances of his appearance as a bystander in a scene, such as when Uncle Charles takes the train to Santa Rosa to visit his sister in Shadow of a Doubt. Uncle Charles feigns illness during the ride and is hidden behind a curtain blocking fellow passengers from view while Hitchcock
As the paradigm in which this curiosity is exposed inhabit the human being, that voyeurism that uncounted of us have inside. Hitchcock is able to use this element to catch the spectator, building a devilish and fascinating tale of suspense set in a microcosm. In which there reflects the intimate and daily life of the current man, where the protagonist observes from his window. The viewer sees what Jeff (the protagonist) observes, has the sensation of being the protagonist, observing through his window.
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.
...wer struggle for sexual domination through the characters of Scottie and Madeline, and also with the use of certain colors. Vertigo shows the loss of masculinity or the impotent male because of a lack of female submissiveness. The main image of the film is that of a downward spiral. This image perfectly illustrates the idea of women as man's downfall that is stressed throughout the entire film. Vertigo also tries to support gender norms for women with some of the female characters. This film is an ideal example of the sexual confusion and anxiety felt by much of American society at this time, proving that film is a cultural product.
Scottie follows her to a flower shop, a church, where she continues through the sanctuary to a cemetery, finally stopping at a grave. As Madeleine exits, Scottie takes note of the headstone, which has the name “Carlotta Valdes” on it. He then follows her to an art museum, where Madeleine sits and stares at a woman in a portrait for hours. He notes the similarities of the hairstyles and the bouquets both women, Madeleine and the woman in the portrait, are holding. Scottie inquiries about the portrait in a conversation with an employee at the museum, the portrait is titled “Portrait of Carlotta”. Finally, he trails her to a hotel and observes her in a second-floor window. Scottie enters the old hotel, after spotting her, and asks the manager who the occupant of the room is. The manager is hesitant in telling him, until Scottie reveals his former police badge. The manager claims the name of the woman is Carlotta Valdes, but that she hasn’t been in all day. Scottie finds this impossible since he saw her just a minute ago in the window, so he goes up to the room, which he finds indeed empty. He goes over to the window, to see that her car is gone from the
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.
Through his choice of setting, camera angles and lighting, Hitchcock makes the conversation at the bar a pivotal scene. The audience and young Charlie are finally brought into Uncle Charlie’s world. This scene’s contrast to the stereotypical American town is what makes this scene so important. Even though Uncle Charlie was able to conceal his true self from most of Santa Rosa, a few people saw him for what he really was. Just like there is a bar in every American town, there is evil as well.
I have just had the wonderful opportunity to watch vertigo, I just wanted to start by
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.
Vertigo and Its Treatment In our everyday lives, we almost take for granted this idea of balance or equilibrium that is maintained within our bodies. In general, no real thought processes are required. It is only when something is disturbed within our balance system that one is able to take notice of changes in the equilibrium. There may be several different factors that cause a disturbance to our bodies.