Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The use of camera techniques in Hitchcock's films
Alfred hitchcock camera techniques
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The use of camera techniques in Hitchcock's films
Alek Gulbenkian November 25, 2014 Hitchcock’s 1959 thriller North by Northwest pulls off debatably one of the most memorable and cinematically famous assassination attempts. In the scene “Crop Duster,” a psychotic crop duster pilot terrorizes Roger Thornhill –played by Cary Grant –. The scene begins when Thornhill, a New Yorker caught up in a life-threatening case of mistaken identity, arrives at an isolated rendezvous point in the countryside of Indiana to meet the man for whom he has been mistaken. He steps off the bus and on to a gritty, lonesome highway surrounded on both sides by farmland. It is not a place where many sophisticated businessmen would choose to spend their afternoons, but there is beauty in such bleakness, as Hitchcock focuses on. A slow establishing shot of the area emphasizes Thornhill's vulnerability in such unfamiliar surroundings. This is vital because, up until this moment, Thornhill has managed to charm, bribe or talk his way out of whatever danger is about to befall him. In this scene, Hitchcock, the masochist, is at pains to make his character appear as helpless and exposed as possible. The twinkle in his eye, fancy expensive suit and suave …show more content…
There's a sense of an ominous threat, but nothing much actually happens until a car pulls up and a suited man gets out. The plane continues to buzz while, nearby, corn stalks shiver in the wind. Hitchcock uses these eerie sound effects to ratchet up the tension. He wants the audience to know that Thornhill is in imminent danger, but not give them any idea what might jeopardies his life. In true Hitchcock style, the stranger turns out to be a red herring – he departs as quickly as he arrives, but not before uttering the immortal line: "That's funny. That plane's dusting crops where there ain't no
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.
Thus placing the film fully emersed in the old, mysterious, dreamlike settings of the city, they are equally balanced with modern technology and the collective past gives viewers a sense of definite decay, with no sure centre for future (Spotto 277). Through Hitchcock’s films Americans could reminiscence and ruminate about their past-a kind of nostalgia and longingness is created. When Scottie meets Gavin Elster (Tom Helmore) in the shipbuilders’ office at the Embarcadero, what he says is striking: “The things that spell San Francisco to me are disappearing fast,” Elster complains quietly and referring to the old maps and woodcuts in his office he continues, “I should have liked to have lived here then-colour, excitement, power, freedom” (qtd in Spoto 280-281/qtd from the film). Here his speech echoes urbanisation that has gripped America and he also expresses a typical American sentiment of longingness for the past well expressed. And the sadness of the old things “disappearing past” is deliberately introduced to effect in Scottie and in us who are urged to identify with him, a nostalgia for bygone era (Spoto 281). Hitchcock has taken the film keeping in mind the viewers of postwar America who were nostalgic. Artist should be able to read the mind of the people. Taine has already pointed out the importance of ‘the man, milieu and
Thornhill, of course, has no answers for the man. While being held captive in a library, Cary quips, “I’ll catch up on my reading.” When they believe him as simply being uncooperative, they intoxicate him by forcing him to drink a glass of bourbon.... ... middle of paper ... ... Lacking the ability to end the picture with a sexual scene, Hitchcock cheekily ends the picture with a shot of a train going into a tunnel.
Alfred As The Master Of Suspense In The Climbing Frame Scene In The Film The Birds
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.
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.
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.
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
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
Stam, Robert & Pearson, Robertson., ‘Hitchcock’s Rear Window: Refluxivity and the Critique of Voyeurism’ in Deutelbaum, Marshall & Poague, Leland A. ed., A Hitchcock Reader (John Wiley & Sons: 2009).
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.
Regular among his works, Hitchcock opens the film with a hovering crane shot coasting over the setting of Phoenix, Arizona. Even without the mysterious, chilling soundtrack, the shot itself watched in silence evokes a timid passage into danger. In a long take it sweeps across the cityscape to build initial curiosity in the viewer, and then surpasses a curtain-drawn window into the presence of a hotel room’s trysting occupants. Immediately the viewer is called into confronting his/her discretion regarding those things we are not customarily meant to see, in such ideas as privacy and good taste. How far should the law step into a man’s world before he is discovered with reasonable certitude for engaging in illegal activities?
Hitchcock films the dining car scene in such a way that makes it feel as though the audience is eavesdropping in on the flirtations of a newly acquainted couple, albeit with a twist. The dialogue portion of the scene begins with a medium shot of Thornhill and Eve seated, while still keeping both in frame during the first half of their conversation. This allows the audience to see a measure of the body language in addition to the faces of the characters. Of note is how Hitchcock bookends the dining car conversation with point of view (POV) shots, yet the POV shot is not used during the conversation between Thornhill and Eve (the first is of Eve when Thornhill recognizes her as the woman who helped him earlier, and the second of the two policemen as they board the train). Despite the scene taking place in a well-lit, crowded d...