Alfred Joseph Hitchcock: Master Of Suspense

Alfred Hitchcock (1899 – 1980), the “Master of Suspense”, was a English film director, who was well known for his use of suspense and psychological elements to shock and surprise his audience. Hitchcock was known for his use of recurring themes, motifs and plot devices, such as the use of birds, hand motifs, the audience as a voyeur, mothers, blonde women, and sexuality. He was also very technical in his editing, using filming techniques such as deep focus, point of view, close up and wide, tracking shots. Montage was also a technique he used frequently in his films. He believed that by using visuals, he could convey thoughts and emotions just as well as dialogue could.

For example, in the scene when the birds begin to attack the gas station in town, Hitchcock focuses greatly on the sound of birds cawing and flapping wings. This technique shows the viewer that the birds are the most important and dominant element of the scene, as well as making the viewer feel like they are partaking in the scene. The loud cries of birds and people make you feel anxious and apprehensive about the result of the scene and how the characters will be after the scene. Additionally, when the birds are about to break into the Brenner’s home through the chimney, the sounds of banging and thudding progressively gets louder. This increases the viewer’s anxiety about what the sounds are, why they are getting louder, and what is going to happen later through the plot. As you can see, Hitchcock’s film adaptation of Daphne du Maurier’s “The Birds” better uses and creates suspense by increasing sound to create a feeling of anxiety and apprehension in the

Shocking audiences of the 1960’s, Alfred Hitchcock’s ‘Psycho’ is one of the most influential films in motion picture history, often being referenced to as the the origin of thriller films. Hitchcock successfully incorporates cinematography, music, and multiple techniques, rendering the perfect amount of tension and suspense right until the climax of the film. Thus, evoking the thrill after which the genre is named.

The duration of the shot – which is essentially a twenty-second long take – is an aspect that only emphasises the suspense and tension intended by Hitchcock. However, if the shot was approximately six seconds – a common standard in films – then the anticipation and trepidation of the shot would thereby be lost. Furthermore, Hitchcock’s decision to prolong the shot prevented it from becoming obsolete amidst all the other shots of the film. This allowed Hitchcock to inaugurate the apprehensive and foreboding tone for the rest of the film, while simultaneously foreshadowing future perilous events. However, if the shot were extended for longer than twenty seconds, then it would therefore become tedious and mundane, disengaging viewers and detracting from the drama of the shot. Another focal aspect of the shot was the dark composition and lighting that complimented the duration to highlight Hitchcock’s intended ambiance of unease and suspicion. Be this as it may, if this shot were to have taken place during the day or with high-key lighting (which is when little contrast is created), then it’s predetermined perplexity and anxiety would vanish. In addition to this, if Hitchcock employed fill lighting and bright lighting then the shadows of the three men would evaporate. This would eliminate Hitchcock’s designed effect on the

Alfred Hitchcock was known as the “Master of Suspense” for the psychological suspense in his

Hitchcock explained the reason for filming a woman wearing only her under garments in the opening sequence of Psycho: "Audiences are changing....The straightforward kissing scene would be looked down at by the younger viewers....Nowadays you have to show them as they themselves behave" (Hitchcock 1). The director was keenly aware of how audiences responded to his films (Rebello 163) and sought to maintain their interest. He was among a handful of Hollywood filmmakers who deliberately sought out innovative composers (Nowell-Smith 258); for Psycho, Hitchcock hired Bernard Hermann who wrote a modern score which challenged the norm. The title itself, fifties and sixties slang for the violently psychotic, suggested the imminence of a new generation (Brill 200).

Alfred Hitchcock also used cinematography in a uniquely stylizing way. Hitchcock not only uses the camera to create dramatic irony, but he also uses the camera to lie to the audience and create anxious suspense. For example, in his film Psycho, when Marion is in the shower Hitchcock frames the scenes very tightly. Marion is in a confined and very personal space. This makes her incredibly vulnerable. Then Hitchcock heightens the suspense by creating dramatic irony with the reveal of a shadowy figure closing in on Marion, unbeknownst to her. This creates a lot of anxiety for the audience, knowing the protagonist is vulnerable and in danger with no way of altering the inevitable. Hitchcock then manipulates the audience by “revealing” a brief silhouette of an old lady as our shower killer. Hitchcock uses this “reveal” to lie to the audience, he makes the audience think they have more inside knowledge confirming their already growing suspicions, when in reality the audience is misled entirely and the murderer was Norman all along. The way Hitchcock uses the camera to reveal both inside information and misleading information truly keeps the viewer engaged and not knowing what to believe until the truth is finally revealed. By using this unique technique of controlling the audience by only showing what he wants you to see, Hitchcock masterfully defies expectations and creates suspense.

The first half of this course focused on Alfred Hitchcock and how his techniques are now recognized as iconic. From class discussions and film screenings, it is clear that Hitchcock pays every attention to detail when he crafts a scene. Many Hitchcock films we have seen this semester highlight how he builds suspense through cinematic elements such as shadow, dialogue, and composition. While many of his suspenseful scenes stir feelings of intensity and uncertainty, Alfred Hitchcock builds a more romantic suspense in his 1955 film To Catch a Thief in the fireworks scene (1:06:35-1:11:00).

Alfred Hitchcock is definite about his method for creating suspense. In the excerpt from Hitchcock’s essay, he calls the art of suspense in his movies

Alfred Hitchcock is arguably the greatest director of all time. Many of his films are considered standards of American cinema and inspired many of today’s directors. Even though Hitchcock is known as timeless director, he had an understanding of philosophy that was beyond his time. Hitchcock had a brilliant perception as to how the mind works and human reaction. Hitchcock’s understanding of philosophy can be seen in his film Vertigo and illustrates how many theories can be debilitating in everyday life.

drives from the city to her lover and, on the way, stops at the Bates

Norman’s psychotic ways are also revealed through Hitchcock’s use of motifs. His repeated use of birds have an underlying meaning of Norman’s dangerousness. His hobby is avian taxidermy and in numerous shots birds are displayed in the background. A shot of when the mise en scene evokes his eerie connection towards his hobby is in the parlor. The parlor is decorated with his stuffed trophy birds mounted on the walls or on stands - an enormous predatory, nocturnal owl with outstretched wings, and a raven. Both owl and raven are in frame lurking behind Norman and representing his concealed character. Like the owl, he is a predator, in full attack mode on Marian. He also doesn’t wait until the daytime to kill her, he slays her in the shower at night like a nocturnal psychopath. As if with the raven’s knife like beak, Norman murdered Marian, following in the footsteps of killing when it is easiest.

Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” (Tiffin). That’s why there’s no surprise that when Hitchcock finally made his first color film, he began to use color as another way of communicating with his audience.

In his trajectory, Hitchcock was called by many the father of suspense. Usually, his films would contain a deep level of psychological thrill that would captivate his audience. Similarly, Nolan was perhaps influenced by Hitchcock and integrated the same degree of suspense and psychological thrill to his films. Nonetheless, the question becomes why would they choose this route, and the answer we find in psychology. There are people with adrenaline-seeking behavior, which means such individuals enjoy the adrenalin released through fear experiences. Nevertheless, real life dangerous situations could lead to death; as a result, people found a way to experience, to some extent, a similar level of fear without jeopardizing their lives. Possibly, both Hitchcock and Nolan had at least a basic understanding of how the human psyche works and incorporated the suspense

asks if she is OK. I think most people would if you saw this woman