Alfred Hitchcock Vertigo Opening Scene

Hitchcock makes use of a number of techniques in Vertigo and brings them together to make a film that is considered to be one of his greatest masterpieces. Through the use of colour, lighting, camera movement, dialogue and characterisation, Hitchcock produces a film that fascinates and intrigues us.

The people who made the beat made it sound like your in a scary movie. In addition, the song has many literary devices in it. An example of figurative language in “Thriller” was when he said “, Something evil is lurking in the dark, under the moonlight you see a sight that almost stops your heart.” That means that she sees something scary that almost stops her heart and it’s an imagery.

This film is a black and white film and the lighting is more towards dim effect which terrified the audience. Music plays the biggest effect in the film. Bernard Hermann’s theme is used for this film because it uses mostly high-pitched string instrument notes so the suspense and horror mood can be formed to the audience.

A thriller is a type of film that usually instills excitement and suspense into the audience. A thriller is commonly described as a tense edge of the seat environment. The movie, Vertigo, is one of the most famous thrillers ever made. However, Vertigo does not fit into the stereotypical genre of thriller. Vertigo, often viewed as an experimental film because it was one of the first major thrillers of that time that used many different and innovative camera techniques. These techniques used in this film are different types of lighting, montage, intense music, etc. Vertigo is known to be one of Hitchcock’s best movies because of his unique sense of style and his famous

The way in which composers convey their ideas is dependent on their use of distinctive visuals. Amanda Lohrey’s “Vertigo”, Tim Burton’s “Edward Scissorhands” and Bruce Dawe’s “Homecoming” show how the composers use the distinctively visual concept to portray a greater understanding to the audience of the themes and ideas presented in their work.

Alfred Hitchcock’s 1954 ‘Rear Window’ is full of characterization, narratives and symbolism. The film focuses around the main character of the story, Jefferies, who is a photographer but unfortunately recently has to use a wheelchair and stay in an apartment because he broke his leg. Jeff has to spend time alone, so he spends his time watching his neighbors through his camera. Due to the warmth of summer most people had to open their window so now Jefferies can see what is happening in their life. It’s like he is watching multiple films at the same time. A free cinema for Jefferies. The view of that window and Jefferies’s apartment is all the viewers have.

Generally when there is low key lighting, the audience feel tense, which creates a sense of suspense. The audience want to know what will happen next and the darkness foreshadows a bad even to come. Dark looks and styles are a key gothic horror element, an example from the film is the low-key lighting used in the boy’s room, which has not been touched for many years. This along with intense music sends a chill down the spine of the audience, as we will feel a demonic presence within that room. When the woman in black meets Arthur Kipps in person to see her son, the dim lighting makes us worried about what she will do next to Arthur Kipps. Due to the lighting in the film the scenes look dark, which makes the The Woman In Black a gothic horror

Vertigo is an intriguing film throwing several philosophical themes at the viewer, including the ideas of love, appearance/reality, and subjective/objective personality. By the use of camera shots, editing, colour, and more, Vertigo provides viewers to immerse themselves into these themes and ponder over what these messages mean and apply to their individual ways of thinking. An interesting concept from the film that I want to dwell on more is the theme of appearance vs. reality. The film creates a conflict between these two opposites, mainly by the physical form of Gavin Elster’s wife “Madeleine” (also known as accessory to murder “Judy”) to the protagonist of the film, John “Scottie” Ferguson as he tries to unravel the mystery of who she really is.

The opening sequence of Hitchcock’s 1958 Vertigo alone is able to inform the audience of two of the film’s major motifs; identities and obsession. “The eyes are the window the the soul” is an age-old metaphor, and Hitchcock uses the pervasiveness of this idea to his advantage, cluing the audience in on the duality and imminent spirals of obsession that the two main characters will fall into. The woman’s eyes appear fearful, darting from left to right, foreshadowing the dual identities the main characters will embody, and danger coming with it. As the camera closes in on the one of the eyes, a red tint flooding the screen, the title of the film is shown expanding out from the centre of her iris. What’s left in its wake is spiral, dominates the entire screen and circling in on the blackness of the void.

Given image, the movie’s visuals speak for itself, demonstrating the events, emotions, and actions in the movie clearly, where in the

The subversion of the male gaze, and an exploration of gender roles are prominent in Alfred Hitchcock’s classic film Vertigo. The male gaze is a term coined by film theorist Laura Mulvey which describes that most films represent women from the point of view of a heterosexual male. This often leads to women becoming the more passive sex in films, as well as the more objectified sex. Hitchcock’s undermining of the male gaze in Vertigo could be why it originally got negative reviews, and as the treatment of women in society changed, so did the reviews of the film. One reason that the film could elicit repeat viewings is that the men (and women) viewing the film see Madeleine in the same way that Scottie sees her: voyeuristically and obsessively.

This is something special about this film. So far in the course, we were given text where we could create our own visuals and in the case of The Arrival, visual in which we could create text. Given both elements, this film is striking for several reasons. I want to focus on the symbolism, faith (as a theme), and the breathtaking cinematography.

The film that I have chosen as a case study for my final paper is: Pan’s labyrinth (2006) by director Guillermo del Toro, and it is a case of real-fantastic cinema. Here I present my essay entitled “ The narrative power of sound in Pan’s labyrinth “of Guillermo Del Toro . It will analyze the sound design , the identification of its elements, the ways in which they are presented and their interrelations, to understand and explain how these elements work together in conjunction with the visual image, to support the narration of the story. Consequently, this research seeks to answer the question: How does the sound in the film ‘Pans Labyrinth' relates to

In The Uncanny, Freud discusses the different definitions and claims that various theorists have made regarding the feeling of uncanny. He defines the different factors that provoke the uncanny in humans and demonstrates how these factors elicit that strange and seemingly inexplicable feeling. Similarly, in Vertigo, Alfred Hitchcock, adopts the various factors that cause the uncanny to alter Scottie’s identity and beliefs. Ultimately, when Scottie is transformed from a rational being to a psychotic obsessive, it serves to indicate the severity of Scottie’s mental instability and his detachment from reality.

The movie Vertigo (1958) deals with a lot that would be typical of a Hitchcock film. The audience as a fear of what will happen with the dread of what could happen. Just as Scottie felt when he was hanging from the roof. With the loss of one fear, Scottie gained another. This essay will link vertigo to obsession and how Scottie was no longer suffering from vertigo he now suffered with obsession, and that he was never cured of acrophobia.