Alfred Hitchcock 's Marnie ( 1964 )

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Alfred Hitchcock’s Marnie (1964) depicts the psychological development of a young woman as she navigates a life of crime and familial melodrama, ultimately unlocking the suppressed memories that offer answers to her childhood traumas. The director utilizes evocative mise-en-scene, subjective point-of-view shots, and expressive lighting schemes in order to project the title character’s internal state onto the physical world of the film. In doing so, Hitchcock crafts a diegetic universe that reflects the unique capabilities of film—one that, through subjectivity and expressive editing, reveals a deeper truth than objective representation.
The film introduces Marnie through character testimonies rather than offering immediate identification with the protagonist. In its opening scene, a woman clutches a yellow handbag under her arm and she walks steadily along a train platform. A tracking shot follows the faceless figure, locked in close-up on the yellow handbag, until suddenly freezing. As the shot turns static, the character begins to mediate the distance between her body and the camera. The original close-up gradually transforms to a medium shot, and finally a long shot.
This technique momentarily suspends the omniscient gaze of the camera, and evokes the spectator’s—as well as Hitchcock’s—desire to “capture” the female protagonist as she escapes off-screen. In this context, the seemingly objective tracking shot may in fact reveal itself as a violent, subjective

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