After reading the critical essay “Neon Gothic: Lost in Translation” by Wendy Haslem, her central argument was found to be that of how Lost in Translation (Coppola,2003) presents a nontraditional approach to a romance in comparison to the expected. Haslem goes on to support her claim of an unconventional romance by using examples of scenes from the film, such as the scene where Bob and Charlotte share a goodbye kiss. In traditional romantic films, there is no mistake in understanding the intent of a kiss. However, in Lost in Translation, the intent of the kiss shared between Bob and Charlotte is not very direct and arises a lot of questions to its meaning. Another piece of textual evidence found to support the claim is the connection made between the two main characters throughout the film.
Women were interested in love but the men viewed them as hungry for status, money, or success. Men were also presented as reluctant to taking action, until they got pressed by the women’s desire to solve the mystery. Hitchcock presents the basic roles for both men and women in the movie Rear Window. The women are presented as sexually appealing objects.
As previously stated, Stella is obviously the voice of reason in Rear Window, and urges Jeffries to marry Lisa. She tells him that, "when two people love each other, they come together - WHAM - like two taxis on Broadway". Hitchcock likely thought that as possibly the most sensible character in the film, Stella's attitude to class should be just as sensible. Jeffries' initial reluctance to marry Lisa because he can't see her being adventurous and accompanying him on his work trips abroad is shown to be invalid and shortsighted, which indicates that Hitchcock thought of such attitudes as baseless. Lisa proves on multiple occasions that she can be daring and get things done, all while wearing the expensive dresses she likes.
‘How does Hitchcock use techniques to reinforce the idea of duality in Psycho?’ Duality within a person is the ideology that there is both a negative and positive contrast residing within everyone, which is usually referred to as the dark and light side of a person. The idea of duality is reinforced throughout Alfred Hitchcock’s 1960 American horror thriller film, Psycho. Hitchcock portrays this idea of duality by utilizing the film techniques irony, recurring symbols and mise en scene. The film was produced in black in white to accentuate the concept of duality throughout the film.
It is shortly thereafter revealed that this is indeed the case. Quick cuts and close-ups are two more techniques that Hitchcock used frequently in this psychological thriller. As Scottie trails Gavin Elster’s wife, Madeleine, he followers her to
As a result, weddings now, are just romantic desires for the wedding day and there is no association of the wedding to the marriage of two people and the married life. Thus, Boden argues that due to consumerism, there is a greater emphasis on the wedding as being a cultural event involving romance rather then a religious celebration. Subsequently, Boden presents the wedding fantasy of a bride as a transformation process that allows brides to stage their weddings into socially constructed events despite not feeling them to be authentic and romantic. Boden regarded these transformations of brides into Cinderella-like princesses who depended on industry professionals for their beautification and appearance. Furthermore, the emotions experienced by the brides were depicted as overwhelming, however, they were regarded as inevitable and it was seen at a more fantasy level symbolizing the wedding
According to Maria Semple, a contemporary American novelist and screenwriter, “There 's something uniquely exhilarating about puzzling together the truth at the hands of an unreliable narrator.” As Semple explains with this quote, novels often times utilize unreliable narrators as a means of pressing forth thematic depth while grasping at an interaction between the audience and the author. Both Kurt Vonnegut and Sherman Alexie utilize unreliable narrators in this exact fashion with their novels “Slaughterhouse-Five” and “Flight”. Throughout Flight and Slaughterhouse Five, both authors utilize unreliable narrators in order to push forth their intended theme of anti-violence. Throughout their respective plots, we can see evidence of Billy Pilgrim, the main character of Vonnegut’s novel, and Zits, the protagonist of Alexie’s story, both being unreliable narrators.
While watching Rear Window by Alfred Hitchcock, I was able to notice two distinct themes throughout the film. These two themes are a quote about actions speaking louder than words and suspense. Hitchcock also had many different elements in his film to make it successful. My favorite element he used was sound with the radio in the background, street noise, and other ongoing conversations. One main theme that was shown through out the film was the quote “actions speak louder than words”.
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.
Fictional narratives that are designed to evoke a feeling of melancholy or thrill in audiences are those that I believe to most embody my directing style. Stories that explore real world issues and are grounded in contemporary society are my preference. More specifically I strive to tell stories that mesh elements of reality with surreal and unreal elements. My want and my desire is to direct narratives that are as captivating story wise as they are visually. I hope to one day use my artistic license as a director to mold fictional worlds in the world of film and television that will amaze and engross
The advertisement we are examining is a hand drawn picture of a giant hand that is reaching down to grab a small couple that look terrified. The drawing sells the idea that the film will be filled with mystery and suspense as the evil hand attempts to crush heroes of the story. The advertisement itself explicitly names the serial and the title of the first episode The Clutching Hand. It also gives the reader
Alfred Hitchcock was born on the 13th of August 1899 in London England. From a young age Hitchcock had an interest in photography and this led him into the art of directing (2016). His directing debut was seen in Blackmail in 1929. In his 51 years of making films he directed over 50, some of which were nominated for various awards. Over the years Hitchcock’s directors style was observed by many and is how he is remembered and how audiences can recognise a Hitchcock film.
Director Alfred Hitchcock utilizes the theme of duplicity in numerous films. His use of doublegangers and doubles are prominently featured in the films Psycho, Shadow of a Doubt, and Vertigo. Hitchcock incorporates lookalikes, mirrored images, alternating identities, and false realties to identify an internal conflict as well as moral discrepancies. In the film Shadow of a Doubt, the characters of Young Charlie and Uncle Charlie exemplify Hitchcock’s theme of doubles.
In Rear Window, Alfred Hitchcock masterfully uses the characters he has created and weaves an intricate storyline by using their relationships with one another. Although each of the characters is, at first, presented as a cliché, their development is an extraordinary, fast-paced journey to behold. In a very short time, each of the characters undergoes massive changes to their personalities, making for a captivating movie. It is the relationships between the main characters that enthrall the viewer and make Rear Window such a compelling film. James Stewart’s portrayal of L.B. Jefferies creates an intriguing and multifaceted character.