Abstract This paper discusses and analyzes Alfred Hitchcock's spy thrillers, "Sabotage", "The Man Who Knew Too Much", "The Lady Vanishes" and "The 39 Steps", and identifies consistencies in the thriller genre.
From the Paper "According to Martin Rubin, the label thriller describes a cinematic and literary genre which has certain identifiable characteristics and which represents a quantitative as well as qualitative concept. Rubin suggests that virtually all narrative films could be considered thrilling to some degree because they contain suspense and action and a sense of departure from the routine world into a realm that is more marvelous and exciting. However, to be a cinematic thriller, a film must meet other conditions, such as the doubling..."
Tags:AflfredHitchcock, thriller fims, spy films, The lady Vanishes, Sabotage, 39 Steps, The Nam Who knew Too Much
Abstract This paper shows how "Lost Highway" can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in "Notorious" and "Strangers on a Train". Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity. It explains how "Lost Highway" contains Hitchcock's trademarks, such as the wrong man theme and doubles. It also shows Hitchcock's directorial influence on David Lynch and the use of symbols by both directors. The examples provided are backed up by film quotes, music references, and quotes from a notable book on Hitchcock, Donald Spoto's "The Art of Alfred Hitchcock".
From the Paper "There are some directors that make great movies, and then, there are some directors who create amazing lasting cinema features. The latter do not only achieve fame in their lifetime, but are often immortalized by their own pieces as well as by the imitation of their styles and ideas. This imitation is, of course, not just a reproduction of what the original director did. The imitation, when done correctly, becomes another great piece of cinema unto itself; one such imitation is David Lynch's Lost Highway. Although Lost Highway can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in Notorious and Strangers on the Train, Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity."
Abstract This paper reviews Alfred Hitchcock's film 'The Man Who Knew Too Much'. According to the paper, it was first released in the United Kingdom in December of 1934. It was not released to American audiences until March of the following year. It was filmed at Lime Grove Studios in London England and filming began after Hitchcock completed his direction of Waltzes From Vienna in 1933. Producers, Michael Balcon and Ivor Montagu had the script prepared before Hitchcock agreed to take on the direction of the film. The paper further discusses how Hitchcock was said to have been given free reign over the direction of the film, although he was also given a small budget to complete the task. The cast for the film was recommended from varying sources. This included Peter Lorre, who was a German actor presented to Hitchcock through Sidney Bernstein.
Abstract This paper analyzes Alfred Hitchcock's masterpiece of suspense, the film "Psycho." The reviewer describes the innovations, taboos and transgressions that Hitchcock explored in this film. Additionally, the paper discusses the emotional states of fear and horror that the film inspired, and how Hitchcock enticed his audience by giving them just enough information to lure them into the world of the protagonist, Norman. The paper also discusses how Hitchcock promoted his film prior to its release. The reviewer concludes that in "Psycho," Alfred Hitchcock lured his audience into the forbidden, made them uncomfortable but at the same time made them enjoy the brief experience of unspoken transgressions as seen in the film.
From the Paper " When Norman purposely gives Marion the key to room number 1 so he can watch her through a peephole in the office, Hitchcock is enticing the audience with another transgression, voyeurism. The audience is forced into this secret world, forced to participate in Norman's forbidden thrill as he watches her undress. Such scenes resulted in much criticism. For example, a letter to the New York Times claimed that Psycho was "deliberately calculated to stimulate the jaded appetites of the middle-aged and arouse the worst latent instincts of teen-agers," suggesting that the transgressions depicted might be contagious (Hendershot). "
Abstract The paper discusses how in the films "Psycho," "North By Northwest," and "Rear Window," Alfred Hitchcock uses the action of the camera to invite the audience to take part in the voyeuristic activities of the characters. In "Psycho" and in "Rear Window" Hitchcock invites the audience into very specific moments in which the main characters observe others in the films without their knowledge. The paper depicts how these voyeuristic moments were a trademark of Hitchcock films that provided a moment in time for the audience to be part of the film and view action that called the audience in as second party voyeurs lead by Hitchcock himself.
Abstract This paper discusses the elements of film style used by Alfred Hitchcock in his legendary films, particularly in "Strangers on a Train". The analysis notes the outstanding instances of Hitchcock's film technique, including his trademarks, considers the historical time in which the films were made, and evaluates the manner in which Hitchcock created the best suspense films in cinematic history.
Abstract This paper discusses how in 'Blackmail' there is a scene near the beginning of the film in which the character of Frank meets his girlfriend. Prior to the beginning of the scene the music is light and cheerful which allows for a distraction in the tension that begins within the scene under observation. What occurs within the scene however is significant to Hitchcock's filmmaking style because it is a scene in which the director begins to build tension through the use of contrasting elements that allow for the audience to feel suspense. The paper further discusses how Hitchcock accomplishes this tension in an almost casual manner through the use of physical movement of the actors and simple events that are subtly undertaken. However, these elements provide a focus on Hitchcock's trademark style of directing and a comprehension of his mastery of the use of cinema.
Abstract This paper discusses issues relevant to three of Alfred Hitchcock's suspense films. The films under consideration in the paper are, "Vertigo," "Psycho" and "The Birds." It explores the position of all three films within the genre of suspense films. It expands on their key characteristics as indicative of Hitchcock's approach to suspense films, including his use of imagery and camera movements.
From the Paper "This brief analysis will focus on issues relevant to three of Alfred Hitchcock's films. The three films selected for analysis are "Vertigo", "Psycho" and "The Birds". The first two films were released by Paramount while the final ..."
Tags: Alfred Hitchcock, Vertigo, Birds, Psycho Genre Films
Abstract This paper presents a detailed analysis of film techniques used in the scene, "Looking for Arbogast" in the Alfred Hitchcock film, "Psycho".
From the Paper "In the scene "Looking for Arbogast", Hitchcock capitalizes on the shock value of the previous scene, "Death and the Detective", where we see Mother murder Arbogast. In this scene we see Lila, played by Vera Miles, and Sam Loomis, played by John Gavin. The lighting in the hardware store is very dim, creating many shadow effects. We see Lila back lit twice, which is reminiscent of the first time we see Mother, providing a nice contrast between the..."
Tags: Alfred, Hitchcock, Film, techniques, Scene, analysis, Looking, for, Arbogast
Abstract In this article, the writer analyzes Hitchcock's portayal of women in his films. The writer first notes that regardless of the fact that Hitchcock portrayed many women as possessors of negative characteristics, feeble, and promiscuous, his portrayal of women, based on their careers and sexuality, is remarkably progressive for the age in which he created films. The writer then notes that, although Hitchcock's two most prominent career women are 'Psycho's' Marion and 'Rear Window's' Lisa Fremont, the two are implied to be relatively successful and certainly capable of greater career challenges. The writer maintains that although many claim that Alfred Hitchcock's films are misogynistic, the same evidence can be used to suggest Hitchcock's progressive trends. The writer concludes that the negative portrayals of Hitchcock's women, therefore, can be implied as society's faults, while the progressive attitude toward women suggests their capabilities.
From the Paper "Coupled with the stereotype of sadomasochism is that of naivete. Throughout his films, Hitchcock manages to stun audiences with images of murder levied on naive victims. Brilliantly, this theme of naivete allows audience members to become involved in the drama of the murder, caring intimately and reacting strongly when the naive character or one close to him or her is killed. Although this scenario applies to a variety of characters, such as Strangers on a Train's Guy Haines, it is most brilliantly portrayed in Psycho, as naive Marion thoroughly enjoys her shower, unaware that her murderer lurks just outside the plastic curtain. The shower scene, reproduced so many times in both effigy and parody, allows viewers to glimpse the careless Marion lifting her arms, shutting her eyes, and opening and shutting her mouth in obvious enjoyment and relaxation. The audience can imagine and almost feel the hot water scalding on a blissful and naive Marion until Norman Bates throws open the curtain and thrusts a knife into the unsuspecting young woman. Audiences glimpse the anatomy of a smooth and attractive feminine stomach as Marion feebly attempts to fight her attacker. Finally, the scene ends with Marion's head, in all its feminine glory, drooping awkwardly over the bathtub."
Abstract Hitchcock employs many of the thematic and cinematic elements of earlier film genres; in particular that of German Expressionism. This essay will argue that Hitchcock uses the Expressionist device of the doppelganger or double to delve into the darker areas of the human mind. The brilliance of Hitchcock's employment of this in "Shadow of a Doubt", it will be argued, lies in Hitchcock's realization that the monstrous is intimately linked and may in fact be produced by, normality.
Abstract This paper examines how Alfred Hitchcock's films often showed the influence of national film movements such as German Expressionism, Soviet Expressive Realism and the British Realist Documentary. It looks at how "The Lodger" (1926), and "Sabotage" (1936) provide examples of these movements from the first three periods of Hitchcock's work. In these films, Hitchcock showed his powerful mastery of the forms, and often moved them to new and deeply disturbing and moving levels. It is through his combination of techniques and themes taken from these often complex and difficult film movements that Hitchcock establishes himself as one of the most creative and influential directors of our time.
From the Paper "During the 1920s, German film gave rise to a type of cinema that mirrored many of the conventions and styles of the expressionism art movement of the same time. This German movement "sought to express - often critically - the very essence of post-war life, its moods and concerns" (Mogg). The techniques that were used within the expressionism art movement often came from melodrama and the works of author Charles Dickens, such as Great Expectations, Oliver Twist, and A Christmas Carol. The techniques of the expressionism movement included an emphasis on irrational behavior that were often expressed through the actions of mobs and crowds (Mogg)."
Abstract This paper discusses the "king" of melodramatic films, Alfred Hitchcock. The paper contends that Hitchcock was (and remains) the originator and master of a kind of mystery thriller that no one has been able to duplicate. The paper presents a biography of Hitchcock's film career and a brief synopsis of several of his films. The paper explores Hitchcock's recurrent theme of an innocent protagonist being falsely accused for a crime.
From the Paper "Hitchcock started in the movie industry, age 19, when he was hired to design titles at the Famous Players- Lasky London studios. He learned scripting, editing and art direction, and rose to become assistant director by 1922. That year, he directed his first (and unfinished) film, "No. 13, or Mrs. Peabody". It was three years later that he directed and completed his film "The Pleasure Garden", an Anglo-German production filmed in Munich. "This experience, plus a sting at Germany's UFA studios as an assistant director, help account for the Expressionistic character of his films, both in their visual schemes and thematic concerns.""
Abstract In this review of Alfred Hitchcock's movie "Psycho", the author looks at elements of the movie that made it so successful. The author points out that "Psycho" was not one of Hitchcock's regular movies. The author tells us how Hitchcock was a very careful craftsman. There was absolutely not a single "ad lib" type scene shot in the movie. Hitchcock was a creative innovator, not merely a director of a number of takes of scenes. The author talks about the two key scenes in the movie, the infamous shower scene, and then the revelation of Norman Bates' "mother." The author concludes with his own personal opinion of the movie and states that no-one will know in advance if a movie will be a classic or not. That is left up to the viewers to decide.
From the Paper "The audience is so captivated by the shower scene sequence- and there are many people who see the film over and opver again-= that it is hard to realize tghat the entire scene takes a few short minutes. It seems longer, because Hitcock's careful editing draws out the suspense andn then magnifies the horror without really showing it to us in full. Whereas so many more recent films delight in bloody corpses and dismembered bodies and blood running into gutters, Psycho is horror through careful editing not through actual camera intrusion that shows everything. We don't need to see everything, because we know- from the minute we can see Norman at the peephole, that disaster is going to strike, and we wait- and then it happens! And not seeing everything all at once makes it so much more horrifying with that screaming of the violins as counterpoint to the blood dripping into the shower floor."
Abstract This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper "The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
