This meant the guilt of a burning secret kept within the main antagonist became known to that of the main protagonist. This created a deeper connection between the two characters, and the audience could also feel the overwhelming guilt of the main antagonist. as well as a sense of triumph for the main character. This is evident in Hitchcock's film "Rear Window" (1964). The transference of guilt is made crystal clear when Jeff starts to resort to what could be considered to be almost drastic measures such as peeping with a telescope and having Lisa and Stella assist in leaving the safety of the apartment to scout certain areas where they had suspicions on such as the flower bed in order to bring the murderer Thorwald to justice.
His insightful use of satire is the redeeming quality of the movie for me, which in turn allows me to appreciate the dark humor that encapsulates the film. I fear much of the American public will denounce the presentation as untimely and callous to the fears that are so widespread. I hope we can all take away something meaningful from this film and realize the shortcomings of certain ideologies like technological competition that we have clung to during the war. If nothing else people should leave the theatre after seeing this movie and realize that Kubrick actually takes the idea of nuclear war very seriously, and he challenges the audience to question the politics and ideologies that have dominated the country throughout the
Lastly, Hitchcock will switch back to an objective view of the character, so that we may see their reaction to what they have just witnessed. He has a bold and effective montage editing from his famous Psycho shower scene where Marion gets stabbed by Mrs. Bates. However, the knife never enters her body, but the way it is edited in rapid clips makes it unbearable to watch and fools the audience into believing that she was stabbed (Sinyard 114). Similarly, in The Birds,
Rear Window The film masterpiece “Rear Window” is directed by Alfred Hitchcock and is known for its unique ability to connect to the hearts of many. The movie intrigues the audience from the opening scene to the dramatic amusement, Hitchcock’s movie is near impossible to predict and is composed of multiple plot twists and surprises. Despite being a harsh movie critic, I truly appreciated every single detail that is put forth by the Director. Unsurprisingly, Hitchcock is known for countless other amazing films such as, “Psycho”, “Vertigo”, and “North by Northwest”. However, what separates “Rear Window” from Hitchcock’s other films is its unique use of camera angles to show every suspenseful moment within the film.
Henri Regnault’s “Summary Execution in Granada Under the Moorish Kings” is a riveting visual experience on multiple levels. Through calculated artistic choices, Regnault ensures that the painting’s grotesque nature strikes first, shocking the viewer on a primal level. He plays with theatrical scale, angles, and lighting to elevate the drama of this scene in a way that would certainly have appealed to the fantastic imaginations of his audience in 19th century France. But equally as mesmerizing is how Regnault quietly imbues the painting with a sense that its characters are subject to some larger, unseen power. Through the use of line, color, and brushwork, Regnault forces the viewer to suspend judgement of the scene by alluding to the the complexity of what influenced the action.
For instance, Hitchcock purposefully used specific shots to captivate the acting and emotions of each character. In The 39 Steps, Hannay and Pamela (Madeleine Carroll) estranged and juxtaposition relationship, is what saves this film from being more than just suspense but helps add a romance touch to the film. When Hitchcock used wide shots, he captures the Hannay and Pamela’s emotional discomfort. The primary shots that Hitchcock uses in The 39 Steps, are close-ups instead of wide shots. Hitchcock uses close-ups to create suspicion in characters’ faces.
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.
Alfred Hitchcock successfully performs suspense and shock in a number of ways.One way was when he reveals that the cop is following her, making us think that he found out concerning the money she stole.Another way is when we see Norman staring through the hole, examining her as if he is waiting to make his move.The last technique that Hitchcock constructed suspense is when we identify a shadowy character gazing at her take a shower, making us wonder who it could
David Fincher represents this fall through a few subtle editing techniques as well as a diegetic reference in the film. To start, early in the film we learn Tyler Durden is a film projectionist who takes pleasure in inserting single frames of pornography throughout various filmstrips. The connection here being, that Tyler or in particular The Narrator’s insomnia is essentially splicing in objects that do not exist or do not belong, similar to Tyler’s profession as film projectionist. This use of splicing is seen early on when The Narrator is discussing his insomnia, or the effects of his insomnia. It is at these times that we see images of Tyler spliced into the film for only a frame or two.
More than any director Hitchcock depended on his actors for his films. Hitchcock’s ambivalent films required complex characterisations and we have seen the most brilliant performances through Teresa Wright as Charlie in The Shadow of a Doubt (1943), Jessica Tandy as Mrs Brenner in The Birds (1963). Hitchcock utilized the flexibility and range of actors like Cary Grant and James Stewart which made the characters memorable. Excellent character delineations of Cary Grant can be seen in films such as North by Northwest (1959) and To Catch a Thief (1955). And James Stewart in films like Rear Window (1954), Vertigo (1958), Rope (1948) and the American version of The Man Who Knew Too Much (1956).