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Scottie's Fatal Flaw in Hitchcock's "Vertigo", 2003.
An examination of the bond between external and internal conflicts, and the consequent creation of suspense, in Alfred Hitchcock's film, "Vertigo".
3,689 words (approx. 14.8 pages), 12 sources, MLA, $ 102.95
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Abstract
This paper traces the introduction and development of Scottie's vertigo as a method of creating shared empathy and greater suspense, including descriptions and analyses of how his weaknesses contribute to the suspenseful tone of the film. This paper also examines the impact of Hitchcock's film techniques on later directors, and looks at several other films as comparisons.
From the Paper
"In 1958, master of suspense Alfred Hitchcock released the film Vertigo, a modern suspense thriller based on the French novel d?Entre les morts (Among the Dead), co-written by Pierre Boileau and Thomas Narcejac. After its adaptation to the silver screen by writers Samuel A. Taylor and Alec Coppel, Hitchcock cast his two leads, Jimmy Stewart and Kim Novak. The plot follows Scottie, a former cop who suffers from an intense fear of heights and the dizziness brought on by vertigo. His former schoolmate, Gavin Elster, asks him to follow his wife, Madeleine, under the suspicion that Carlotta Valdes, a deceased Hispanic woman, has possessed Madeleine?s mind and body. A spiraling plot full of intrigue, romance, fear, and identity crisis ensues, leaving Scottie to fight off the deceptive forces around him while struggling with his internal dilemma."
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Hitchcock's "Vertigo", 2002.
This paper presents a critical review of the 1958 popular film, by Alfred Hitchcock, focusing on its themes.
610 words (approx. 2.4 pages), 1 source, MLA, $ 21.95
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Abstract
In reviewing the film, this paper explores the themes raised within it. It begins by exploring the theme of the expression of human fears - fear of heights and fear of death. Next the paper discusses the love theme and the subject of ?rescue fantasy?. Included in this discussion is the mentioning of the theme of the pessimistic human desire to die and leave the brutalities of a transitory world. The use of music, colors and special effects to capture psychological themes is studied and the public?s response to the film is dealt with. The paper concludes by looking at some of the questions raised by the film and at the commentaries of some film critics.
From the Paper
"Few films in the history of American industry have managed to provoke analysts all over the world and fewer have taken all the audience by surprise placing them in a dilemma surrounding the various, perplexing aspects of the film and entangling the intricate components of its primary characters (Berman). Alfred Hitchcock?s, Vertigo, that first became public in 1958, is certainly one such movie, the most debatable drama unfolding the lives of its characters with immense force and originality (Berman)."
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"Vertigo" ( Alfred Hitchcock ), 1997.
Style, images, suspense, characters, plot, symbolism and use of time in the 1958 film.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
" The title of Alfred Hitchcock's Vertigo (1958) characterizes the film quite well, for the director attempts not only to use the idea of vertigo, or dizziness in this case brought about by a fear of heights, as a driving force in the plot but also creates a sense of vertigo for the audience and further uses vertigo as a metaphor for action of the film. Every element of the film is shaped toward this end, all centered on the fact that the main character, Scotty, has this psychological problem which manifests itself in the physical feeling of dizziness.
The opening sequence is the key to all that follows, and it is especially important that Scotty is visually left dangling from a roof at the end of this sequence. He is, of course, rescued, but the rescue is not shown, and in a Hitchcock film what is not shown can be as important as what is. Scotty at this.."
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"Blackmail" and "Vertigo" ( Alfred Hitchcock ), 1995.
A feminist analysis by Tania Modleski of these two films' characters, themes and violence.
1,800 words (approx. 7.2 pages), 3 sources, $ 63.95
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From the Paper
"Alfred Hitchcock made Blackmail as his first sound feature in 1929, and Vertigo in 1958 during his most creative period. The two films share certain characteristics in terms of the way the filmmaker presents women and in the relationships the female characters have with the male characters in the two works, and indeed these same elements and approaches can be found in many Hitchcock films made between the two. Tania Modleski links Hitchcock's works specifically to sexual violence in her feminist analysis of his works, and she cites other critics on the subject when she writes:
In film studies, Hitchcock is often viewed as the archetypal misogynist, who invites his audience to indulge their most sadistic fantasies against the female (Modleski 17)."
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American Vertigo, 2006.
This paper discusses the Alfred Hitchcock movie "Vertigo" and the book "Traveling America in the Footsteps of Tocqueville" by Bernard-Henri Levy.
2,250 words (approx. 9.0 pages), 1 source, $ 89.95
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Abstract
The paper relates how for many people the first thing that comes to mind when they hear the word "vertigo" is the 1958 Alfred Hitchcock movie "Vertigo." This movie is set in San Francisco and is one of the most famous of all American suspense thrillers. Most people will be aware of the powerful visual imagery of a falling terrified man with the world spinning around him.
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Alfred Hitchcock: A Master of Duality, 2002.
An analysis of two Hitchcock films, "Vertigo" and "Psycho".
1,121 words (approx. 4.5 pages), 0 sources, $ 38.95
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Abstract
This paper discusses the films, "Vertigo" and "Psycho" by Alfred Hitchcock portraying Hitchcock's penchant for duality. The writer explains how Hitchcock makes clear that the essence of suspense is the permanent struggle between the obvious and what could be. The paper illustrates the duality evident in "Vertigo" - the struggle between life and death; and that in "Psycho" - the evaluation of openness and mystery.
From the Paper
"For many, the name Alfred Hitchcock conjures hazy and disconnected memories of Cary Grant and Ingrid Bergman in Rio, Tippi Hedren being chased by killer birds, or Jimmy Stewart in a wheelchair; but for others?those that are somewhat more experienced with the work of Hitchcock?the utterance of his moniker means much more. Indeed, many consider Hitchcock to be not only one of the most prolific and entertaining filmmakers, but also one of the most profound. A recurring?and certainly intriguing?motif that holds together his body of work is his incessant interest and portrayal of duality: the conflicting, yet in some ways similar, nature of life. That is to say, Hitchcock (and no other, on as prestigious a level) was able to brilliantly compare, reduce, and then reevaluate polar opposites that every human encounters. Love or hate, man or woman, privacy or voyeurism, and dishonesty or fidelity were just some of the many themes he unraveled in the stories and aesthetics of his films. Two such films?with particular interest as each illustrates by movement, mise-en-scen, and narrative strategy, Hitchcock?s penchant for duality?are Vertigo, in which he juxtaposes the archetypal struggle between life and death, and Psycho, where he dabbles in the much more complex evaluation of openness and mystery."
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The Inevitable Consequences of Obsession in "Vertigo", 2003.
A close examination of the spiral motif in Alfred Hitchcock's film, "Vertigo", and the consequences this theme has on the characters and plot.
3,797 words (approx. 15.2 pages), 8 sources, MLA, $ 104.95
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Abstract
An analysis of the spiral motif in Vertigo, beginning with a close look at suspense and terror. Establishing suspense as the main source of fear in the film, this paper gives a detailed examination of how spirals create suspense through repetition of scenes, settings, and character obsessions, followed by a summary of other spiral effects in the film (Scottie's hallucinations and vertigo). A careful look at the characters, and the spiral nature of their identities, including a look at how the characters interact and force the action of the film towards destruction.
From the Paper
"Beginning at a single point and spinning outwards, the curve of a spiral never hits the same point twice, but the pattern that it follows is always identical. Spirals form the dominant image in Alfred Hitchcock?s Vertigo, beginning in the opening credits with the spirals appearing in the close-up of a woman?s eye. All of the slight details, from Carlotta Valdes? hair to the repetition of clothing, point towards the spiral as a major theme, and the physical spirals direct the viewer?s attention to the repetitions in plot and character. Alfred Hitchcock introduces a spiral motif that permeates all aspects of Vertigo and drives the action towards its inevitable conclusion, but suspense is created as all attempts to break the spiral are thwarted and all hope for happiness fades."
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"Strangers on a Train" and "Vertigo", 2007.
This paper argues that "Strangers on a Train" and "Vertigo" are the quintessential Hitchcock films.
3,304 words (approx. 13.2 pages), 4 sources, APA, $ 94.95
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Abstract
This paper examines the universal and enduring appeal of Alfred Hitchcock's films. The author defines two films in particular -- "Strangers on a Train" and "Vertigo" as the quintessential Hitchcock films. The author contends that although Hitchcock's films may no longer have the capability to shock their audience, they feature several recurring plot devices that capture the imagination. These plot features include an ingenious criminal scheme, the use of doubles, a guilty person who manages to cast suspicion upon a non-guilty person, and an amoral person being punished. The films "Strangers on a Train" and "Vertigo" demonstrate Hitchcock's best use of those devices.
Outline:
Introduction
Discussion
Conclusion
From the Paper
"Alfred Hitchcock's thrillers, though filmed half a century ago, have maintained their ability to keep an audience enthralled. Part of the initial impact of Hitchcock's thrillers is that they were groundbreaking, and they offered a vision of the ugly side of humanity that had not been explored in cinematic media. However, a modern audience does not experience the same shock at those revelations that the original audience experienced. Therefore, the permanency of the movies' appeal must be attributed to something besides the shock factor. Many attribute the lasting greatness of Hitchcock's thrillers to Hitchcock's use of several important cinematic themes."
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Alfred Hitchcock and Voyeurism, 2003.
An analysis of the connection between voyeurism and cinema in the Alfred Hitchcock films "Rear Window" and "Vertigo".
2,128 words (approx. 8.5 pages), 3 sources, APA, $ 66.95
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Abstract
This paper examines how Alfred Hitchcock?s films deal with many psychological themes, including the idea of voyeurism. It reviews two of his films; "Rear Window" (USA, 1954, Alfred Hitchcock) and "Vertigo" (USA, 1958, Alfred Hitchcock) and discusses the occurrence of voyeurism within the narratives of both films. It also looks at the idea that certain aspects of the films can be said to be representations of the voyeuristic nature of cinema-going itself.
From the Paper
"I will now look at Vertigo and consider how the voyeurism and the gaze of the film can be seen as much more sexual than that of Rear Window. It has been said that Rear Window seems like a comical ?test run? for the more obsessive and frightening nature of Vertigo, and that Rear Window, Vertigo and Psycho form a sort of trilogy of films that contained the them of voyeurism. Vertigo was not as popular on its original release as Rear Window. This is probably due to the fact that there is a lot more complexity and psychology in the story, or because James Stuart seemed too old to play the romantically obsessed man. The story is about Scotty (James Stewart), an acrophobic detective who has been hired by a friend to trail his beautiful and troubled wife, Madeline. His quest at first is an innocent one, but he soon becomes Madeline?s obsessive stalker. "
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David Cooper?s ?Bernard Herrmann?s Vertigo?, 2004.
Summary and review of Cooper's critical study of Herrmann's score for "Vertigo".
2,617 words (approx. 10.5 pages), 5 sources, MLA, $ 78.95
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Abstract
This paper examines David Cooper's book on the importance of Bernard Herrmann's score for Alfred Hitchcock's film, "Vertigo". The paper looks at Cooper's view that the score was critical to the success of the movie and discusses how Cooper divides Herrmann?s work into two categories before delivering his evaluation of Herrmann?s "Vertigo" score. The paper also analyzes Hermann's artistic genius as a composer and a master of the film score world.
From the Paper
"David Cooper?s book is a critical study of Herrmann's score for Alfred Hitchcock's Vertigo. His work evaluates how Bernard Herrmann's score for Alfred Hitchcock's Vertigo plays a crucial role in the articulation and development of the film's narrative. The viewer is affected as much by the musical score as it is from the script itself. Cooper described how Herrmann's collaboration with Hitchcock spanned eleven years, and their partnership produced nine films. Hermann's film score for Vertigo is widely regarded as being one of his finest and hence the reason for Cooper?s investigation of the work."
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Hitchcock's Contribution To The Suspense Thriller Genre, 1986.
Examines Hitchcock's contribution to the suspense thriller genre & movie-making in general. A number of his films are examined, but THE BIRDS, PSYCHO, & VERTIGO are prominently discussed.
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
" The contribution of Alfred Hitchcock to the suspense thriller genre has been in essence to define it so that all subsequent films in the genre will aspire to the standards he set and will be compared to the films he made. This has indeed been the effect, so that films that have nothing to do with Hitchcock's style, themes, or interests are said to be Hitchcockian thrillers by those seeking a superlative. An example playing at the present time is The Crying Game, a film compared to Hitchcock though it is not a Hitchcock-style film at all and only touches on Hitchcockian themes in terms of generic elements that are difficult not to have in a thriller.
Hitchcock's contribution has been much broader than merely to the thriller genre, however, for he influenced a generation or more of filmmakers who learned from his films how to manipulate (...)"
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, $ 89.95
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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."
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Hitchcock and Lynch, 2001.
Comparing the impact that Alfred Hitchcock had on David Lynch's film, "Lost Highway".
1,926 words (approx. 7.7 pages), 4 sources, MLA, $ 61.95
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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."
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Alfred Hitchcock, 2004.
An analysis of the life and works of film director, Alfred Hitchcock.
1,202 words (approx. 4.8 pages), 6 sources, MLA, $ 41.95
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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.""
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Hitchcock, 2003.
A discussion on story and film elements of three Hitchcock suspense films.
1,380 words (approx. 5.5 pages), 4 sources, MLA, $ 47.95
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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 ..."
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