Director Alfred Hitchcock uses various forms of cinematic language throughout Vertigo to create more than just a movie, but a masterful work of film art. During the first scene, the protagonist, John “Scottie” Ferguson, is seen hanging from a gutter during an investigation of his as a detective. It is here that the viewer is inexplicitly presented one of the character’s major flaws. By looking down the alley with the camera, a visual effect is used to create a sort of tunnel vision from the point of view of Scottie. After seeing the panic in his eyes and sweat on his face, one might conclude that he has a fear of heights.
The handsome protagonist Roger Thornhill, played by Cary Grant, is mistakenly pursued by the antagonist Vandamm (James Mason) and his group of henchmen. Roger’s life is turned upside down by being falsely accused of murder, a seductive blonde (Eva Marie Saint) and near death experiences in the action thriller (North By Northwest). Alfred Hitchcock has become well known for his acquitted style earning the nickname ‘master of suspense’ (www.biography.com). North By Northwest is a hybrid film that involves elements of adventure, crime and mystery with the main genre being thriller and action (www.imdb.com). In an action thriller, the audience should expect to feel a wave of emotions leaving them anxious and uncertain which creates suspense and
Shot Analysis: Citizen Kane Orson Welles, director of “Citizen Kane”, is well known for his unusual directing methods that defied conventional cinematic techniques. Welles provided his audience with original forms of cinematography, narrative structures, and music. The scene I chose to analyze is extremely important to the plot of the film because Kane begins to realize that he is going through some serious financial problems. During the scene, Kane maintains a sarcastic mood, until he finally decides to surrender and signs the papers that transfer the ownership of his media empire to Mr. Thatcher. Throughout the film, Welles uses unusual arrangements of music that creates suspense for the audience.
Danny’s psychic abilities and the fact that the hotel was built on an ancient indian burial ground create a feeling that what is unfolding is coming from an outside force and cannot be stopped. Again, the madness takes up the space between us and them, the human and the inhuman. In Framing Monsters8, Joshua Bellin explains that when it comes to mental illness in film, the mad individual becomes the metaphor for madness. He says:“Not only does it externalise the threat of one’s own mind becoming a monster, turning in violent insurrection against itself, but it makes identifying the mad a stunningly simple matter.”9 In this case, the reason why it is so simple for the viewer to distinguish Jack’s madness from the beginning of the film is due to his violent tendencies. The hints of his previous violent acts prepare the viewer for what is to come and make the decent to madness more understandable as perhaps he had been closer to madness than we had previously thought.
Band of Outsiders is an intoxicating interplay between romance and criminality. The three lead characters – Odile, Franz and Arthur – plan to rob the house Odile is lodging in. Like any film of the French New Wave, there is a sense of honesty in Band of Outsiders; it’s so honest about what it is – a film. For example, the voice-over throughout the film is spoken by Godard himself: the director speaks over the film, even explaining parts of it! As for honesty within the narrative, there is an amusing lack of it – which is made all the clearer by the contrasting honesty of Godard’s cinematic style.
Jaws is on of those rare horror movies that manages to make something real terrifying. By utilizing editing, sound, and cinematography, the movie makes us feel frightened, and highlights the meaning of the work as a whole, that we as humans must always respect the nature that surrounds us. No one on earth can discuss “Jaws” without first mentioning the music and sounds of the movie. It is often parodied, copied, and discussed, but Jaws did it first, and did it best. From the very beginning of the movie we (the viewers) are taught to associate this monster, the “man-eater” with those two notes, and every time we hear those two notes, we know the chum is about to hit the fan.
The second part talks about Jenna’s past, as the detectives try to figure out a truthful explanation of the accident. After arresting Jenna, the detectives feel that something does not seem right; indicating when one says, “You think she might be making it up?” (Mackintosh 188). Thus, leaving the reader searching for clues; the questioning keeps readers interested. To conclude, Mackintosh’s novel is admirable because of her captivating plot with continuous
12 Angry Men, although produced in the late fifties still offers a great slate for any viewer. The special effects and quality can easily be guessed by the black and white silhouettes of the film. The intensifying conflict of this film easily overshadows the lacking up to date criteria expected from a film. Many viewers expect a well-developed plot and characters with an accompanying use of special effects and coherent scenes. This courthouse drama has assigned twelve men to juror duty which will make this murder case mystifying by involving the viewers in the underlying theme of prejudice in the film.
In reading this shot one has to bear in mind that horror and particularly the slasher genre have traditionally suffered from a bad reputation; each year a myriad of horror films are released that just recycle the conventions, clichés or even narratives in the case of remakes of anterior films. Becoming a successful director in this genre means that one has to comprehend its spectator. The director has to excel at predicting audience’s reaction, misleading them with the goal of horrifying and shocking to experience the much sought for thanatotic pleasure. Sister Jude 's declaration "I see you for exactly who you are" is, therefore the director telling us that he is aware of the conventions and clichés and knows exactly how to manipulate and mislead his audience. This declaration becomes even more poignant due to the fact that Carrie’s(De Palma, US 1976) soundtrack “Bucket of Blood” is running in the background.
The Wrong Man was a film of Alfred Hitchcock 's that I had never seen before until the screening. The Wrong Man, although an anti-suspense film, is arguably thrilling by "chance itself" (Godard 1). The way the viewer thinks and reacts to the film echoes what would really be occurring in Manny 's head as he wonders what will happen next. When comparing The Wrong Man to Hitchcock 's Psycho and The Birds, the type of suspense Hitchcock employed within it is a very fearful kind. The audience will be on the edge of their seats, awaiting fright.
According to Stephen King, horror movies can serve a valuable purpose. In King’s Playboy-published essay, “Why We Crave Horror Movies,” he examines the popular trend of attending horror films, and he uses various techniques of persuasion. Excluding the fact that he is America’s best-known most influential writer of horror fiction, to accomplish his goal of driving us into the world of horror he begins his essay with a very clever hook: “I think that we’re all mentally ill; those of us outside the asylums only hide it a little better…”. By stating his claim in this manner, he attempts to catch attention of the reader, and sequentially persuade him to think as he thinks.
The 1940’s was the age of film noir, producing many bleak and dark movies including Charles Vidor’s Gilda. These movies were usually adapted from series noir, or black series, hard-boiled detective novels where themes of homosexuality, violence, rape, incest, drugs, abuse, etc. are common. These themes were taboo in 1940’s political economy, so a Production Code was imposed over Hollywood films (Belton 229). This Code meant that the films had to be adapted to strict regulations that prohibited them from showing controversial and inappropriate themes on screen such as homosexuality, sex, and murder.