Analysis Of Alfred Hitchcock's Caddyshack

One’s ability and need to love reflects the sole purpose of being human, it begins at birth and carries on throughout adolescent years and adulthood, but contrary to the simplicity of loving a person, when one experiences an inability to express their love and gratitude for a person, it takes an incredibly unimaginable toll on his/her mental and emotional stability which in due time results in a form of depression. The feeling of depression emerges from the low spirits and loss of hope and courage accompanying a person, and while each case of depression varies in effect, the movie, The babadook, expresses its severe control, capable and detrimental power over a person, and the extreme coping measures. In the movie The Babadook, depression abruptly

The argument made by the author Robert Sklar in his book Movie-Made America has to do with the impact that American movies have had on the country's culture and society as a whole. Sklar says this by stating that, “American movies, through much of their span, have altered or challenged many of the values and doctrines of powerful social and cultural forces in American society, providing alternative ways of understanding the world.” (6470). Throughout his book Sklar goes through the history of film in American culture and analyzes how different American film’s have impacted our country in different ways, and vice versa.

Alfred Hitchcock’s Rear Window has several themes. One major theme is relationships. The lead character, Jeff Jeffries, a photographer and committed bachelor, is involved in a relationship with Lisa Fremont, a model, although the relationship has some tension due to Jeff’s lack of commitment. When Jeff is confined to his apartment recovering from a broken leg, he begins spying through his rear window on his neighbors in a nearby apartment. Through her frequent visits, Lisa is drawn into this spying as well. In each of the apartments, lives are lived and relationships are being played out, and the dynamics of those relationships reflect back to aspects of Jeff’s and Lisa’s relationship and their anxieties and desires.

Doe Zantamata, an American author, once said, “Good friends help you find the most important things when you have lost them...your smile, your hope, and your courage.” In Frank Darabont’s film The Shawshank Redemption, hope and friendship are a large part of the characters’ lives, as they are inmates in the Shawshank prison. Andy is a newcomer and intrigues Red, an inmate who has been in the prison for a long time. Although Red is not sure what to think of him at first, they soon become good friends. Someone’s identity not only shapes that individual, but also the friendships one makes. Andy and Red’s contradicting identities draw them towards each other and transform their lives forever through their unique friendship.

While watching the film Gone with the Wind most people would pay little to no attention to details like camera angle or lighting. However, Gone with the Wind is a great example of mise-en-scene ,what is physically being shot in the scene without editing and can include, but is not limited to camera movement, lighting, focus and scenery, in many different ways. Mise-en-scene actually appears during the first scene when Scarlett is sitting on the steps of Tara, her family’s plantation, along with her two of her male companions. Scarlett is sitting on the top stair while the twins are sitting on stairs below hers almost as if they were worshipping her. Scarlett is also looking down upon the twins as if she were superior to them.

Foreshadowing is a very powerful literary device used in most, if not all, pieces of literature. Authors who intentionally add this aspect to their story use it as a way of building anticipation in the reader’s mind, thus adding the feeling of suspense. Ken Kesey masterfully applies this concept throughout his novel, One Flew Over the Cuckoo’s Nest, by utilizing the intricate web of connections that he spins between characters and other elements present in the text. McMurphy’s eventual downfall is foreshadowed through subjects that he is subtly linked to such as both the dog and Ruckly.

It should be established before anything else that the author I have chosen, Kurt Vonnegut, was heavily influenced by World War II. The idea of war, along with its devastating effects, gave Vonnegut a rather cynical and twisted view on human nature. This perspective bleeds over onto his writing and can be seen in many of his major and minor works, including one of his most impactful, “Slaughterhouse 5,” in which he uses time travel, alien planets, and other farfetched ideas to describe the physical and emotional consequences of violent acts.

Through an in depth analysis of Alfred Hitchcock's ‘North by Northwest’ (NBNW), it becomes evident that in order for films to be able to entertain their audiences they must ‘weave’ or manipulate images, characters and issues. This is evident through two particular scene within the film, including: chapters 5 and 26 (clickview). Hitchcock's manipulation of issues and characters in NBNW to entertain the audience is exemplified through the severity of the issues faced by the protagonist, Roger O Thornhill (R.O.T) and his comical response and attitude towards the adversity he faces.

Film has the ability to capture events in time that visual narrate suffering, pain, honor, and death. These elements of the human experience separates photography and cinema from other art forms, as the viewer witnesses what they believe is untampered truth. So what better way to visually document and tell the story of the greatest war ever fought in modern time, World War II. This war was of biblical proportions with over 72 million casualties and scares that were felt in almost every part of the world form Europe, China, Middle East, North Africa, South-East Asia and the Pacific. World War II set a script of tremendous magnitude that any director would love to depict with names like Franklin D. Roosevelt, Joseph Stalin, Winston Churchill, Gen. Patton, and Gen. Eisenhower leading the allied forces against the evilness set by the axis forces of Hirohito’s Japan, Benito Mussolini’s Italy, and the most villainous of all Germany’s Adolph Hitler.

American Psycho takes place in New York City in the midst of the Wall Street boom in the 1980s with the main character and narrator being Patrick Bateman, a successful investment banker who appears to live an ordinary life amongst the rich of New York City. Bateman and all the people he associates with come off instantly to the viewer as materialistic and vain caring about nothing but who has the best clothes, business cards and even restaurant reservations. Each individual is made out to care about nobody but themselves even getting each other’s names wrong and mixing them up with other people’s, in the world of American Psycho each character is the king of their own world but when it comes to Bateman the viewer finds his world to be even more distorted than everyone else’s as his persona unravels across the story.

Citizen Kane tells the story of Charles Foster Kane, a millionaire newspaper tycoon, who had recently passed away. The story unfolds in a sequence of overlapping narratives told by different narrators, all with different views of Kane. Their opinions of Kane give the audience different perspectives of the man thought to be one of the most powerful figures in America. The events recalled are told by the narrators to reporters trying to decipher Kane’s famous last words “rosebud”, but because of their advance older age they seem to be contradictory and unreliable. Their accounts are out sequence and often coincide with themselves. Kane brings together non-linear and composite storytelling from multiple points of view unlike traditional Hollywood

Alfred Hitchcock’s 1960 film Psycho redirected the entire horror genre, and in doing so dismantled the prudent 1950’s societal barriers of cinema. Although unseen for its potential by the large studios of the time, Psycho became one of the crowning achievements of film history. While based partially on a true story of murder and psychosis from Wisconsin, the widespread viewing of this tale made way for a new era of film and ushered in a new audience of movie goers. The use of violence, sexual explicitness, dramatic twists, sound, and cinematography throughout this film gave Hitchcock his reputable name and title as master of suspense. In 2018, reviews of films often are headlined with “the book was better.” But, in 1960 there was no such thing

From the outset, I have to say that “The Catcher in the Rye” by J.D. Salinger has been one of the most important and influential pieces of literature I have ever read. At its core, the book is a superb coming of age novel which discusses several extremely powerful themes such as the difficulties of growing up, teenage angst and alienation and the superficiality, hypocrisy and pretension of the adult world. These themes resonated deeply with me and were portrayed excellently through the use of powerful symbolism and the creation of highly relatable and likable characters. One such character is Holden Caulfield whom the story both revolves around and is narrated by.

Citizen Kane (Orson Welles, 1941) is a film that is well known for pushing cinematic boundaries in many ways. One commonly recognized technique in Welles’ film is deep focus photography. Deep focus photography is used in films to allow everything in a shot to be in focus at once. Typical, only specific characters or objects are in focus in any given frame in order to guide the audience’s attention in a scene, but deep focus can bring a new level of sophistication to a shot. While using deep focus photography, a cinematographer may have to rely on framing, lighting, or composition to guide an audience in a way that typically would be done by focusing on objects or characters in the foreground of a shot. Many of these techniques are found in the scene which shows young Charles playing in the snow while his mother completes the transaction to have him taken from his home. Throughout the scene, Charles can still clearly be seen through the brightly-lit window, even while the adults are talking in the foreground of the shot. The ability to see Charles at all times emphasizes that although he is not directly involved in the conversation, he is still the topic of interest. This deep-focus aids in the mise-en-scéne of this scene by allowing the cinematographer to strategically include Charles as a focus of the scene without directly involving him in the dialogue. This is the first of many times where Charles

Alfred Hitchcock was born in Leytonstone, England during the Edwardian Era. His parents, William and Emma Hitchcock, instilled the ideas of guilt and punishment into him from an early age. They were devout Catholics and sent their son to a strict religious boarding school. He was taken out of school, however, at the age of fourteen because of his father’s death. Due to his upbringing, Alfred developed a fear of punishment at a young age. His fear transformed into a morbid interest as he grew older. His fascination for guilt and punishment shaped the way his films were made.