Abstract This paper discusses the effects of Poe's ground-breaking literary style on modern pop culture. Comparisons are made to several artists, musicians and composers, directors, and authors, such as Manet, Kupka, Munch, Jim Morrison, Claude Debussy, The Alan Parsons Project, Alfred Hitchcock, Tim Burton, Stephen King, Ray Bradbury, Sir Arthur Conan Doyle, and Franz Kafka, to name a few.
From the Paper ""Edgar Allan Poe never produced any biological offspring during his lifetime, but clearly his literary children are everywhere" (Magistrale 9). Poe's impressive avant-garde style provides inspiration for many people to fabricate captivating pieces. Because he writes an excess of 120 poems, sonnets, and stories in his lifetime, Poe remains a prominent figure in society. A tremendous appreciation for Poe's work motivates his so-called "children" to sample his style in a vast number of their own ways. Therefore, the great influence Edgar Allan Poe's writings have on modern culture is evident in many areas including art, music, and literature."
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 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: Aflfred Hitchcock, thriller fims, spy films, The lady Vanishes, Sabotage, 39 Steps, The Nam Who knew Too Much
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 The author of this paper examines how Edgard Allan Poe's own life's obstacles influenced and inspired the writing of "The Masque of the Red Death." One specific source of inspiration involves Poe's foster father, John Allan, ignoring Poe's pleas for help in assisting his wife, who was ill with tuberculosis. In the story, the audacity of Prince Prospero holding a ball while the outside world dies can be taken as a symbol that reflects John Allan ignoring Poe's many pleas for assistance. There is no compassion in the prince just as John Allan felt no compassion for Poe. "The Masque of the Red Death" is Edgar Allan Poe's literary way of exposing the truly wicked ways of his enemies and visiting upon them the most horrible punishment he can imagine to serve them justice for their crimes.
From the Paper "Edgar had never forgiven John Allan and despised everything that he had and Edgar did not. This hatred extended from solely John Allan to any wealthy person who was not willing to help or at least acknowledge his own genius. Nathanial Hawthorne was one such person who was so fascinated with Edgar's tales that he took the time to write him a rather cordial letter expressing his admiration for his earnest criticism and writing ability. On the other hand Edgar felt very slighted and unappreciated compared to many of his literary peers. "He could not stand to see other writers, such as Henry Longfellow, Ralph Waldo Emerson and James Russell Lowell, earn more praise and money than he did" (Streissguth 79). Aristocracy seemed to hold Edgar down and when examining "The Masque of the Red Death" we see the revenge that he would wish extracted upon them. Prince Prospero is the embodiment of John Allan and all other men who possessed wealth, but refused to come to his aid. It is possible that Edgar desired the very pestilence that had haunted him for so many years to go forth and destroy those who never knew want or suffered from financial trouble. What better way to see his enemies destroyed than by the disease he was most familiar with?"
This paper is a comparison and contrast of Edgar Allan Poe's two styles of writing: the gothic genre of Poe's "The Fall of the House of Usher" and the detective genre of "The Purloined Letter."
Abstract This paper is a comparison and contrast of Edgar Allan Poe's two styles of writing: the gothic genre of Poe's "The Fall of the House of Usher" and the detective genre of "The Purloined Letter". The paper includes topics such as diction and the ease or difficulty in the ability to read and comprehend Poe's stories.
From the Paper "Edgar Allan Poe is one of the most well known names in literature. He was a short story writer, a poet, a literary critic, a journalist, an editor, an essayist and novelist. Edgar Allen Poe virtually created the detective story genre and perfected the psychological thriller. Poe is celebrated as one of America's greatest writers of short stories but his first published works were poems. Arguably, the most prominent feature of Edgar Allen Poe's writing is his obsession with death."
Abstract This paper examines some of the contributions of Edgar Allan Poe's only novel, "Arthur Gordon Pym of Nantucket". It examines in particular the ways in which Poe approaches the foreign and the different, in this work as well as adjacent works. It analyzes the introduction of the strong and sometimes hidden elements of horror in Poe's works.
From the Paper "The Narrative of Arthur Gordon Pym of Nantucket (1838) is the only novel written by Edgar Allan Poe, and yet despite this singularity it is in fundamental ways connected to the rest of his body of work as well as to other important works of 19th century American fiction. This paper examines some of the contributions of this novel, examining in particular the ways in which Poe approaches the foreign and the different ? a concept that was in many ways (some explicit, some deeply encoded) a proxy for race in both the work in question and that of other works adjacent in time and theme to Poe's novel, especially that of Herman Melville's Moby Dick (1851)."
Abstract This paper compares the works of Sheridan LeFanu and Edgar Allen Poe. It focuses predominantly on why Poe is better known, although they address similar themes. It explains that LeFanu's stories, though technically well-written and at least briefly engaging are rigidly conventional by today's standards and thus immediately forgotten. It points out, however, that Poe's stories baffle the reader, sending them through a tangled web of complicated sentences, strenuous adjectives, and puzzling layers of multiple interpretations.
From the Paper "The mainstream film industry appears to be crawling with insipid, run-of-the-mill movies, which despite managing to temporarily captivate our attention, never quite seem to leave much of an impression. They essentially serve as a momentary means of time disposal. Occasionally, however a film comes along which portrays such brilliantly penetrating individuality and piercing emotion, we find ourselves endlessly haunted, long after our initial viewing. The world of literature can be similarly divided. Two prime examples of such opposites emerged from the literary horror genre of the mid-nineteenth century: Sheridan LeFanu and Edgar Allen Poe."
Abstract This paper discusses and reflects upon the lonely and difficult life of Edgar Allan Poe. The paper explains that Poe suffered from depression for most of his life and that it was this depression that eventually caused his early death. The paper uses the poetry of Poe as well as biographical information to reflect on the American poet's life.
From the Paper ""Helen, they beauty is to me Like those Nicean barks of yore, That gently, o'er a perfumed sea, The weary, way-worn wanderer bore To his own native shore" (Barnet, Berman, and Burto 697). This is the first verse of the poem called, "To Helen," and it is only one of many poems and writings that Edgar Allan Poe wrote during his life. "Helen of Troy, [was] considered the most beautiful woman of ancient times" (Barnet, Berman, and Burto 697). No doubt, Edgar Allen Poe was touched by her beauty and moved to write this poem. Poe's biography will show that his life was difficult due to losing both of his parents before the age of three. This and the lost of his wife caused Poe to suffer with depression. This depression is what finally caused him to die at an early age. Looking at the biography and..."
