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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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The Fatal Flaws of 'Hamlet', 2005.
A review of the fatal flaws that appear in Shakespeare's 'Hamlet' as per Aristotle's definition of the 'tragic hero'.
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
This paper analyzes the six main characters in Shakespeare's "Hamlet": Claudius, Ophelia, Gertrude, Laertes, Polonius, and Hamlet. This paper further defines what their fatal flaws are in accordance to Aristotle's understanding of the "Tragic Hero." All six of the characters seem to exhibit a flaw pertaining to the question of reality, and how an individual should justify their actions.
From the Paper
"A tragic hero, according to Aristotle, is a character in a tragedy that possesses a fatal flaw; this flaw eventually leads to their demise. Ordinarily, characterization of this sort is only attributed to the central protagonist; largely because tragic heroes, like Achilles for example, are usually very nearly ideal in every way, save for their single fatal flaw. Yet, this is not necessarily true in Hamlet, since all of the main characters can be perceived as tragic but none are wholly idealized. Hamlet, Ophelia, Gertrude, Claudius, Polonius, and Laertes all possess fatal flaws, but no overarching moral standard is supplied as a foil through which the audience can measure their faults. Instead, Shakespeare presents a philosophical question that each of his characters are forced to handle: how do we know what is true?"
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Hamlet and his Fatal Flaw, 2002.
The following paper explores Shakespeare's Hamlet's fatal character flaw of indecisiveness.
2,140 words (approx. 8.6 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper examines how Hamlet's own indecisiveness and unwillingness to act in the end of the play cause a great deal of harm in the world. The writer contends that Hamlet presents himself as someone who has no choices, someone whom the fates have trapped, however it is of the opinion of this writer that fate is never absolute and thus this essential flaw of Hamlet's character, this inability to take his life into his hands, makes him all the more compelling.
From the Paper
"Hamlet's habitual indecisiveness even as he seeks revenge leads to a climax in which there is in fact no clear resolution to the play's action, no clear sense that the something that is rotten in the state has been plucked out. There is no sense of justice having overcome evil, for the world of Denmark as seen in Hamlet's court is so corrupted that it cannot be cleansed even by the degree of death that takes place in the play. By the end of the action Elsinore has been transformed into a garden of the dead, with the corpses of both the innocent and the culpable planted in the ground like terrible seeds that will bring forth another generation of the damned. There is not the sense of renewal at the end in Hamlet that one finds in other tragedies such as Othello."
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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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"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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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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A Flawed Genius, 2007.
This paper provides a personality profile of Sigmund Freud.
1,974 words (approx. 7.9 pages), 4 sources, MLA, $ 62.95
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Abstract
In this article, the writer notes that undoubtedly, Freud was one of the great geniuses of the 20th century, due to his often explosive views and theories on love, language, power, human development and death. The writer points out that Freud, like many other prominent scientists and researchers, was not a perfect human being. The writer maintains that it is clear that Sigmund Freud suffered from numerous flaws in his personality, much like any other human being which society views as being above the normal range of human creativity and intellectual power. The writer concludes that the paradox of Freud and his "fatal flaws" is double-sided, meaning that he both inspires intense loyalty from many current researchers in human psychology and intense hatred from those who oppose his often radical and downright incorrect theories on human development.
Outline:
Introduction
Freud's Early Life
Marriage and Cocaine
Freud and His Father
Freud and Jewish Culture
Conclusion
From the Paper
"In many of their letters, Sigmund Freud and his wife left highly-detailed descriptions of their often tempestuous relationship."
"As related in these letters, during the first decade of their marriage, three sons and three daughters were born which added extreme pressure to Freud's ability to earn a substantial living as a neuropathologist in Vienna. At this time, circa 1884, Freud decided to conduct some experiments on the use of cocaine. At first, his interests in the drug were therapeutic, but he soon started using the drug and within two years found himself under a cloud of suspicion, due to reports of drug addiction which brought much criticism from his contemporaries."
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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'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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