Alfred Hitchcock’s Vertigo Essay

How auteur theory can be applied to the study of Hitchcock’s North by Northwest and Vertigo

Exploring How Alfred Hitchcock Manipulates The Audience In Psycho Alfred Joseph Hitchcock is thought to be, by most, the greatest film director of all time. He was born in Leytonstone, London on13 August 1899. He directed many great films such as The Lodger, The Birds, Sabotage, Notorious, Rear Window, and of course one of his greatest achievements ever, Psycho in 1960. He directed the first British sound film - Blackmail.

Initially, Mrs. Mallard reacts with great sadness over the news of her husband’s death. Knowing that Mrs. Mallard suffers from “heart trouble”, Josephine, Mrs. Mallard’s sister decides to “hint” her the news of Brently’s death in “broken sentences”. Josephine assumes that Mrs. Mallard “[loves]” her husband, and naturally

In the film, Scottie quickly falls with the heroine Madeline, and through a series of unfortunate events sees her jump to her death. However, one day when walking the streets of the city, he spots a woman,Judy, who likes strikingly similar to his past lover. After spotting her he impulsively begins to recreate the reality of Madeline through Judy by forcing her to dye her hair, and wear the same exact clothes Madeleine wore, and Rothman describes Scottie’s “refusal to let his love be lost” as the source of these monstrous actions (Rotham 231). However, it is this inability to let his past go that leads him to recreate a reality and bring forth the truth. Even so, after he recreates his lover Madeleine, it is not until Judy makes the mistake of wearing the same neckless his former lover did that sparks realization for Scottie. After seeing this he is prompted to take Judy to the sight where Madeleine was killed, and confront her about her involvement in the murder of Madeline. After overcoming his vertigo, Scottie find himself at the top of the bell tower with Judy, where she ends up jumping to her death. In doing so, retributive justice is brought to Madeline seeing that her killer dies the same way she did. However, none of this would have not been possible without Scottie’s effort to recreate the reality of his lover Madeleine. It is through this recreation that truth behind Judy’s identity, and the cause of Madeline’s death is

Once Scottie believes he has lost Madeleine, his perfect, elusive woman, he becomes obsessed with the familiarity he finds in Judy. He expresses no interest in knowing Judy herself, as the film does not capture any of this. Instead, it captures his insatiable desire to once again discover Madeleine, the dream woman that will solve his insecurities within his masculinity. This desire is explained through his literal makeover of Judy, buying her new clothes, having her hair dyed, having it done a certain way, etc. When trying on suits an employee in the store comments that Scottie knows exactly what he wants, the disturbing problem in that being that anything less than his illusion of Madeleine will be unacceptable to him. Another way Scottie consumes Judy is through positioning in shots. Whereas Midge is seen as above Scottie, often literally as in their primary scene, Hitchcock uses the kissing scene between Judy and Scottie to show him progressively becoming literally above and on top of her, crushing and smothering her beneath him. Furthermore, Judy’s character becomes more and more corpse-like as the film progresses. When she is finally “transformed” into Madeleine, she is depicted in green and foggy light, making her appear both haunting and ghostly. Even when she is being made-over, when her hair is being died, she looks like a body being prepared for her funeral. The kissing scene mentioned earlier acts in the same way, her being crushed by him makes her appear lifeless. Whether she is dead or alive, Hitchcock shows the viewer that it does not matter to Scottie. The deepening of this throughout the film, culminating in Judy being actually dead and destroyed beneath Scottie from the window, exposes the overwhelming and unhealthy nature in his seemingly “affectionate” feelings towards

Hitchcock's Psycho Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre. It was more realistic the events could happen in reality.

Scottie suffers after his involvement with Madeline/Judy. After his ideal woman Madeline dies, Scottie becomes obsessed with Judy after his dreamlike woman dies. Scottie is trying to cope with Madelines loss and spots Judy and starts to obsess over her like he did with Madeline. It is destructive and unhealthy for his mental health as he pours his heart into dying Judy’s hair the right shade and finding the exact suit Madeline wore. As a director of the Hitchcock/Truffaut documentary said, Scottie is trying to fill his void of losing Madeline by making over Judy. This would affect Gavin’s master plan as well, as Scottie could go to the police with this damning information and the ruse would be over.

When she realized that Scotty hadn't been around for a couple of weeks, she begin to worry just so then she could realized that Scotty had kill himself. She take a doll, a very creepy one, that in a way could represent Scotty and his unusual apireance, they way he didn't fit in in the world and the fact that she wanted to take care of this doll like she didn't take care of scotty. The author change

A substantial amount of evidence seems to allude to the possibility that John may be the cause or at least a contributing force for Jane's mental illness. It is important to mention, that John may be completely unaware of his contribution to Jane’s progressive dementia. Jane provides substantial support for this proposition in the beginning of the story when she remarks about her husband’s

The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more

going back to the other views to see where the policeman is and how is

Alfred Hitchcock's film Psycho Psycho, by Alfred Hitchcock, was shocking for its time. Made in the 1960's when film censorship was very tight to today's standards, Hitchcock pushed the limits of what could be shown and did with psycho things that had never been done before. The cinematic art, symbolism and sub-conscious images in this film were brilliant for the time and still are now. Realised for this, psycho has been copied in many ways and the things that made it great have become very clichéd.

Throughout cinema, there has always been space in our hearts for the gore and intrigue that come from horror films. Though they come with different plots, there remains “the monster”, the character that brings along disgust, horror, suspense, and even sympathy. In Alfred Hitchcock’s Psycho (1960), our monster is Norman Bates, the boy next door. This was one of the first times in American cinema that the killer was brought home, paving the way for the future of horror movies. According to Robin Wood in “An Introduction to the America Horror Film” (183-208), Bates follows the formula of the Monster being a human psychotic. This is conveyed through his normal façade portrayed with his introduction, the audience’s ambivalence, the use of

When it comes to movies, many directors are good at their jobs. However, other directors are great in the art of film making. There is no doubt such statement is considered utterly subjective, but what would life be without subjectivity, for it is our differences that make us thrive against a monotonic existence. By the same token, Alfred Hitchcock and Christopher Nolan utilize their singularities to create films that for decades have impacted the movie making universe. In fact, it is their differences that provide us with a high contrast to compare and scrutinize their job and find what made them great at it.

Author, Kate Chopin, presents the character of Mrs. Louis Mallard. She is an unhappy woman trapped in her discontented marriage. Unable to assert herself or extricate herself from the relationship, she endures it. The news of the presumed death of her husband comes as a great relief to her, and for a brief moment she experiences the joys of a liberated life from the repressed relationship with her husband. Finally, she recognizes the freedom she has desired for a long time and it overcomes her sorrow: "Free! Body and soul free! She kept whispering." In her soul, the dark clouds are disappearing because she is illuminated. All the memories of her husband are now of the past. She is living in the present. At this point, she is no longer "Mrs.Mallard." She is Louise and is ready to welcome a new horizon of freedom : "Spring days, and summer days, and all sorts of days that would be her own." Overwhelmed with a new sense of herself, she feels as if she