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"Shadow Of A Doubt" ( Alfred Hitchcock ), 1995.
Examines the theme of transference of guilt in this 1943 film.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"One of the themes found in the films of Alfred Hitchcock is known as the transference of guilt, a theme Hitchcock first used when he was still working in England and that he continued with his American films. One way this was seen was that the hero or heroine would often be accused of a crime he or she did not commit, but there is more to it than that. For Hitchcock, the hero was always actually guilty of something, some sin in his life, which he would have to pay for by suffering through this period of false accusation. The idea of guilt and transference is clearly important in Shadow of a Doubt from 1943, and part of the fascination one has with this film is in seeing the ways in which this theme is presented. Young Charlie takes on the guilt of her uncle because she knows about it and says nothing, and she is nearly killed because of this. The suspense is created by the ..."
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Alfred Hitchcock's "Shadow of a Doubt", 2002.
Discussion of Alfred Hitchcock's attempt to force a perspective on viewers when he made "Shadow of a Doubt".
1,400 words (approx. 5.6 pages), 3 sources, $ 53.95
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Abstract
"Shadow of a Doubt" was a box office success and remains an outstanding example of Alfred Hitchcock's ability to craft a mystery film into a something which was more than mere cinema; it was also a serious psychological study. In order to achieve this, Hitchcock had to alter the way in which the viewer expected to see films.
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Alfred Hitchcock's "Shadow Of A Doubt", 1982.
This paper discusses Alfred Hitchcock's use of the theme of transference of guilt in several films especially the 1943 film "Shadow of a Doubt".
900 words (approx. 3.6 pages), 2 sources, $ 31.95
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From the Paper
"One of the themes found in the films of Alfred Hitchcock is that of the transference of guilt, a theme started in the British period and carried over into the cross-over period and beyond. This involved much more than simply the fact that the protagonist would be falsely accused of a crime he did not commit, though in the earlier films especially this would be closer to the way the issue was presented. Later, however, the protagonist would also be expiating some guilt of his own through this false accusation, and a key film in the development of this sense of guilt and transference is Shadow of a Doubt from 1943. William Rothman (1982) calls this Hitchcock's first American film to be the equal of his British work and says that it "gives form to all he learned in Hollywood as it declares continuity with the whole body of his ... "
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"Shadow of a Doubt", 2004.
An analysis of Alfred Hitchcock's work, "Shadow of a Doubt", using two scenes from the film.
734 words (approx. 2.9 pages), 1 source, MLA, $ 26.95
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Abstract
The author argues, through a close analysis of two scenes from the film, "Shadow of Doubt" by Alfred Hitchcock, that the work serves as an indictment of the middle class. The paper emphasizes the roles of money and family in the film and analyzes some of its technical aspects in order to support this argument.
From the Paper
"But arguably, it is not only Uncle Charlie, but Little Charlie as well who serve as critical counterpoints to a middle-class, suburban America. Little Charlie comments to her father: ?Money. How can you talk about money when I?m talking about souls?? In the opening sequence, Uncle Charlie?s money spills over from the nightstand on to the floor, indicating that he is either careless or doesn?t care about money. As we see later in the film, in scenes such as those in the Santa Rosa bank, Uncle Charlie is ?not interested in money,? primarily, we assume, because he has so much of it. Uncle Charlie?s disregard for money is in stark contrast to the middle-class concern with money, as embodied by the character of Joe Newton, the banker."
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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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Alfred Hitchcock's "Psycho", 2007.
A review of Alfred Hitchcock's famous film "Psycho."
1,100 words (approx. 4.4 pages), 5 sources, MLA, $ 38.95
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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). "
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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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Alfred Hitchcock, 2006.
An analysis of 'The Man Who Knew Too Much' by Alfred Hitchcock.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
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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.
From the Paper
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Alfred Hitchcock, 2005.
An analysis of the impact of Alfred Hitchcock's films on British documentary realism.
1,100 words (approx. 4.4 pages), 6 sources, MLA, $ 38.95
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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)."
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Alfred Hitchcock, 2004.
A look at the different forms of expressionistic thought exhibited in Alfred Hitchcock's films.
904 words (approx. 3.6 pages), 6 sources, MLA, $ 31.95
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Abstract
Using Alfred Hitchcock's films "Rebecca" and "Rope", this paper discusses how Hitchcock's style expresses national film movements like German Expressionism, Soviet Expressive Realism and British Social Realism.
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Alfred Hitchcock Films, 2002.
Analyzes three movies by Hollywood director, Alfred Hitchcock.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
An analysis of three movies of Alfred Hitchcock, and how he deviated from Hollywood norms. By understanding the use of German Expressionism and Documentary Realism in Hitchcock's films, we can see the Hollywood glamour of moviemaking he counteracts.
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?Rear Window? by Alfred Hitchcock, 2002.
An review of Alfred Hitchcock's film "Rear Window" with an emphasis on the filming technique used.
1,915 words (approx. 7.7 pages), 0 sources, $ 61.95
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Abstract
This paper evaluates the first two scenes ?Rear Window? by Alfred Hitchcock by looking at his filming methodologies shot by shot. The main character Jeffries sits and watches life through the window much as the viewer sits and watches that same life on a movie screen. The paper shows how Hitchcock's manner of presentation points to the thematic issues to be considered in the plot--voyeurism, guilt, isolation and reaching out to others.
From the Paper
"The opening scene in the film takes place in a single shot, and Hitchcock uses a fluid camera to pan in a nearly 360-degree arc to show the entire setting. This establishes the setting, many of the characters, the situation that exists at the beginning of the film, the role of the central character, and much about that character. An enormous amount of information is conveyed visually as the camera pans around the courtyard, remaining always in the window of the photographer's window, which will be the point of view of the courtyard throughout the film until near the end."
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Alfred Hitchcock's "The 39 Steps", 2005.
This paper discusses Alfred Hitchcock's "The 39 Steps" (1935), an early, relatively unknown film, which marks and separates his films from those of all other directors of the 50s and 60s.
3,500 words (approx. 14.0 pages), 1 source, MLA, $ 98.95
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Abstract
This paper explains that Alfred Hitchcock's "The 39 Steps" (1935) reveals the themes for which he will soon be famous such as human complacency, disparity between appearance and reality, the salutary effect of a night journey, the difficulty of trust and the fear of confinement. The author points out that the narrative structure; the structural movements of complacency, crisis and recovery; the use of complacent and oblivious characters but not pessimistic character and a well developed model of life, alternating between confinement and release, in terms of physical but not so much in terms of psychological, confinement. The paper relates that the film is truly a Hitchcock film as demonstrated by his use of the Dutch tilt, stairways, extreme high angles and emerging body parts.
From the Paper
"Hannay takes Annabelle to his flat and the two wind up in his kitchen where we will be introduced to the icon of the checkerboard floor, the complacent character type, the beginning of the typical structural movement, and the themes of complacency and of the disparity between appearance and reality. It is here that Annabelle reveals to she is a spy. Refusing to believe her, Hannay plays the role of the complacent character and thinks he knows everything about the world around him. This character type is in every Hitchcock movie and they are all punished for their complacency. These characters have the predictability of the world taken away from them, and they spend the rest of the movie trying to recover. Complacency is not always punished with physical danger."
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Alfred Hitchcock and Stephen King, 2003.
A comparison and contrast of the writing of Alfred Hitchcock and Stephen King.
1,840 words (approx. 7.4 pages), 10 sources, MLA, $ 63.95
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Abstract
A comparison and contrast of the writing styles of Alfred Hitchcock and Stephen King. It looks at how both are similar in presenting the everyday life and in terms of building suspense, sexual tension and the macabre. It also discusses Hitchcock's collaboration with screenwriters on the scripts for the films and King's prolific output as a novelist who is more graphic than Hitchcock.
From the Paper
"The writing styles of Alfred Hitchcock and Stephen King are similar in a number of ways. Both writers exhibit a writing style in which we find suspense, sexual tension, the macabre and inhibited or uninhibited character ..."
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Alfred Hitchcock, 2002.
Analysis of the style, technique, and trademarks of Alfred Hitchcock's film making.
1,900 words (approx. 7.6 pages), 5 sources, $ 71.95
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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.
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