This paper will discuss the motif of the double in Strangers on a Train. While the double is a recurring motif in Hitchcock’s work that he routinely employs in order to explore questions of moral responsibility, identity, and guilt, it receives its most overt and thorough treatment in Strangers on a Train. Studies of the film have consistently understood Bruno as a stand in for Guy’s unspoken desire, the chaos held at bay by societal order - Guy does indeed want to ‘get rid of’ his wife, but he transfers this responsibility (and associated guilt) to Bruno (Walker; Wood; Dellolio; Truffaut). As Walker notes, in Hitchcock’s films, the double most often serves as an ‘alter ego’ that enacts the repressed/disavowed/unpermitted desires of another character. Indeed, as Walker points out, There is little ambiguity that this is precisely what Hitchcock meant to communicate in the film, as he has formally stated this in correspondence with Francois Truffaut:
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
Rear Window, a 1954 Hitchcock film is deceptively simple on the surface, but contains messages about marriage, class and privacy, to name a few. This essay will explore how attitudes to social standing in the 1950’s are expressed in the film. Lisa displays the attitude that class shouldn't be a factor in determining how she behaves or whom she should get married to. Jeffries is an example of the attitude that because of their material wealth and status, those in the upper echelons of society aren't entirely human and treats them as such. Stella portrays the attitude that class shouldn't be a major consideration in who to marry, but Jeffries would be foolish to not exercise social mobility and marry Lisa to improve his own social standing. Hitchcock's perspective to the attitudes of the characters in Rear Window also
Rear Window by Alfred Hitchcock is a fillm full of symbolism and motifs that provides viewers with a bigger meaning. It shows these rhetorical appeals through Hitchcok’s eyes that would not be recognized if not analyzed. Through these appeals I have recognized the window as being a symbol and marriage and binoculars as motifs. After understanding much more than what the eye anitially sees when viewing this film there is a fine line between understanding what is going on in the film and observing what the protagonist Jeff is viewing.
Alfred Hitchcock used various symbols throughout the film Psycho to allow the viewer to get an insight of what is happening in the film. Symbolism is an exceptional way to entice the viewer as it creates suspense and makes it better to understand the film. Alfred uses paintings as a symbol, which can be seen in multiple scenes, to symbolize a certain character in the film to the painting and foreshadow events in the film. This allows the viewer to get more detail on the character’s personality and what is about to happen.
Alfred Hitchcocks powerful and complex psychological thriller, horror film “Psycho” (1960) was classes as the first sub genre of horror, the slasher. The film ushered in the era of slashes with graphic content of blood-letting and shocking killings of the time. Although this was Hitchcock’s first horror film, he was labelled as a horror film director ever since. The film contains disturbing themes of corruptibility, confused identities, voyeurism, human vulnerabilities and victimisation. These themes symbolise the effects of money, oedipal murder and the dark histories. These were explored by the use of the motifs of birds, eyes, hands and mirrors (Filmsite.org, n.d.).
Alfred Hitchcock is remembered as the "master of suspense", most notably in one of his cinemas, "Psycho".Hitchcock used a variety of sensory details, to shock moreover frighten his audience.Three sensory details that he used, is when we notice a cop following Marion, we see that Norman is stalking Marion, and when a shadowy figure shows up while Marion is taking a shower.
Both of Alfred Hitchcock’s films, North by Northwest and Rear Window, were great movies with lots of suspense. The suspense, however, would not have been created without the entire mise-en-scene of the movies. Hitchcock was a master at using the elements of lighting, sound, and cinematography to heighten the suspense in his movies.
The film opens on a small boy, Arnie (Jerry Mathers), playing in the Vermont hillside on a splendid autumn day. He comes on the dead body of a man happens to be one of Harry Worp (Philip Treux). The entire story revolves around the dead body which is buried, then taken out and reburied, till it becomes convinced that Harry died a natural death. Parisian audiences and critics appreciated the first release there, but British and American viewers reacted coldly to this visually beautiful but static and finally unsettling little movie. Hitchcock himself says “The Trouble with Harry is an approach to a strictly British genre, the humour of the macabre. I made that picture to prove that the American public could appreciate British humour”(qtd
“Mise-en-scene” is a French expression that was originally a theatrical term that refers to “staging” (Thompson & Bordwell 1999). When this term was transferred to film production, its practices involved the framing of the shots (Hayward 2000). According to Karam (2001), Mise-en-scene involves a choreographed set of visual elements that correspond to a set of ideas.
He was a trailblazer for his time, making history in his movies. In his most famous film, Psycho, he crossed some lines that had never been crossed before in television history. This movie featured a “transvestite” killer, grotesque stabbings, and an intense death of the main character in the first thirty minutes of the movie. Many people believed his movie was too risqué or improper at the time. According to The Alfred Hitchcock Wiki, Psycho was the first movie to show things such as a toilet flushing and no movie had seen stabbings as detailed as Psycho. Hitchcock was very involved in his work and very creative. He used chocolate syrup for fake blood, although he went a little too far sometimes, for instance he threw real dead birds at an actress for a scene, without telling her they were not just props in his famous film The Birds. Hitchcock was also known for having cameos in his own movies, meaning he himself would have a small roll or just be in the background in a scene. As the “Master of Suspense” Hitchcock kept his audience on the edges of their seats with all of his
Exploring the world through the eyes of the anti hero Patrick Bateman, American Psycho exhibits a world in which society is centered around itself in such a scale that even a violent murderous psychopath goes unnoticed. Patrick Bateman is a narcissistic psychopath, who has no qualms about murdering homeless people, prostitutes, old women and even dogs, yet he seems like everyone else in the society. Everyone is so much alike that Bateman’s lawyer and even his colleague confuse him for someone else. In a country obsessed with American dream, director Mary Harron shows the grim reality of what happens once the dream is actualized.
An example of Gothic Literature shows in the film Physco. It’s the blood when supposedly the Norman’s Mother kills Ms. Crain whom steal the money. This scene shows how the blood is disappearing with the water of the shower and goes for the drain, and then she dies. Also use Hitchcock in this scene graphic effects, depending on viewers’ imagination causing the sense of terror and dread on it. An element of Masculine Gothic is the trouble versions of masculinity of Norman. Mrs. Bates and Norman are the same person, but he has still his mother in his mind, and when he acts like Mrs. Bates, he treats himself like a little boy and corrects his behavior like when Mrs. Bates didn’t want sharing a dinner with Ms. Crain. Hitchcock
In the realm of Philosophy, different views about the definition of the mind and its interactions exist. Among the many, Dualism stands as one of the most debatable, thanks to its position about the relationship of the mind and body, and its repercussions. This assignment discusses the dualist relationship between the mind and the body, as well as its impact on the individual free will. It asserts Interventionism as an extension of Dualism, as well as an alternative to Determinism. The objective of this endeavor is to present the Dualist approach to Mind and Body as an alternative or possible solution to the dilemma of Determinism.
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.