Character Analysis Of Alfred Hitchcock's Vertigo

The colors are demonstrated in such a way that symbolize the double personality that is played by Judy through her impersonation in the first half of the film as well as during the second half of the film when the truth is revealed to first the audience and later to Scottie. First seen in the restaurant with the prolonged profile shot of Madeleine and later with the green wardrobe choices of both Judy and Scottie, it becomes clear that the color green is representative of the double life each of these characters play. Scottie is perceived by Midge from his “good old college days” (53) only as a retired detective who suffers from severe acrophobia. In contrast, the audience views Scottie as a possessive and controlling psychopath after the reveal that he has fallen in love with an imposter who helped his old friend stage a murder. Following his mental breakdown and hospitalization, his obsession of sex and domination over women intensifies and reveals to the audience the two-sided persona that Scottie has likely been living with his whole life. Once again, Hitchcock presents his audience with a chance to acknowledge the multiple sides of their own personalities and how these differences parallel the bidirectional aspects of both Judy and Scottie’s

One of the key techniques, which Hitchcock makes, use of in Vertigo is the different use of colour. He chooses certain colours due to their symbolic connotations and then uses them to contrast different characters. He frequently uses green and red, for example when Scottie meets Madeleine for the first time, the restaurant is decorated in red with the visitors wearing mainly dark clothing. Green is quickly established as Madeleine’s colour as

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.

In the establishing scene, Marion was wearing a white bra as she cuddles with her secret lover. Hitchcock had chosen the white bra at the beginning to signify Marion’s innocence. But after stealing the money from her employer, we see Marion wearing a black bra and dressed over a dull dress which signifying the bad deed she had done. Similarly, the white purse that Marion holds before stealing the money was then changed to a black one upon committing the crime. Hitchcock once again employs these subtle yet significant trails to the audience, increasing its impact on audience when they

Additionally, while analyzing the portrait of Lady Frances Knowles the importance of color is also used however it is to express different meanings. It is easy to see that the artist of this piece finds color very important due to the vast color pallet he uses in order to contrast the colors

In “Vertigo,” staircases are in integral part of the plot. They provide the height needed to trigger Scottie’s acrophobia. In both stories, however, they provide a gateway to an innocent place now occupied by some evil force. Uncle Charlie is the evil staying in innocent Young Charlie’s room and Gavin Elster is the evil hiding out in the Church’s bell tower waiting to throw down his wife.

For this paper, I have decided to compare two Hitchcock films. Ever since I can remember, I have seen Alfred Hitchcock films; Psycho, The Birds, North by Northwest, I enjoy his work because I like the suspense, and visual effects that he was able to accomplish. Out of all of his films, I believe that my favorite Hitchcock films would have to be Rear Window (1954) and Vertigo (1958), because I think that the two incorporate everything that is “Alfred Hitchcock”. Hitchcock films are known for being mysterious, cynical, as well as suspenseful and they are all similar because of his use of symbolism, light, repetitive actors, and repetition of theme.

The bright blue of Mary’s robes ensnare our gaze. This vibrant color contrasts with the neutral tones of browns, whites, greens, and reds. Combined these soft colors emanate a calm ambiance about the painting. The robes of the figures, the Madonna’s in particular are light, airy in a sense. Tri-tone gives a sense of real fabric, and of movement underneath that fabric. Tri-tone and shadowing go beyond the characters however. The architecture in the background expresses a realistic filtered light. We detect an opening in the building by the presence of the tops of trees in the background, and by the light that faintly falls on the face of Madonna. This gentle illumination, once again brings our attention to the faces of Madonna and Child. In comparison, the saints in company are not placed in such a light, figuratively and

Anthony Doerr, the author of “All the Light We Cannot See,’ depicts how blind people view the world in their own unique way. He uses the literary device of imagery to display Marie-Laure’s out look on the (her) world. She codes the museum building as beige, chestnut, and hazel {line 19} where as pigeons are ginger and auburn (occasionally golden) {line 23}. She describes her father as ‘one who radiates a thousand colours” {line 27} such as olive green when talking to the head of the department , bright red when he cooks, and a radiant sapphire when he sits over his workbench. She uses these colors to portray how even though she cannot see ‘real colours’, she can still see colours.

The director began the film in color and makes the shift to black and white. which take the audience into the bring of world war II. The black and white highlights key scenes and characters. This also captures how we see world war II and conveys the emotions of a depressing era. Each scene in the movie kept a realistic portal. The black and white interfered the vilonace and sadnesss. Scenes such as the evacuation of the jews from the ghetto, which brought the fear and panic felt by the jews. To the little girl wandering the streets alone with all the madness around. What drew the audience towards her was the fact that the only thing in color was her red coat. Her red coat made a powerful statement of a child innocents.

One of the most famous horror films not just of the 1960's but of all

Alfred Hitchcock Presents "The Perfect Murder": A Rhetorical Analysis In "The Perfect Murder," from Alfred Hitchcock Presents is a black and white television series aired from 1955 to 1962. It is a story about two brothers, Paul and Henri, they are trying to come up with the perfect plan to get their inheritance from their recently deceased uncle, by any means necessary. The only thing stopping them is their perfectly healthy and stubborn Aunt Rosalie. Aunt Rosalie is very perceptive, stubborn, and not fooled by anyone.

American Psycho by Bret Easton Ellis was written in 1991. It is based around Patrick Bateman who works on Wall Street and lives a lavish lifestyle. Bateman appears to just be a regular rich, bachelor. If you look deeper Bateman has a dark side as a cruel serial killer. The common themes presented throughout the book are greed, obliviousness, and reality vs appearance. The author, Ellis presents the themes by depicting Bateman’s life as he goes out and lives two very different lives.

more creative. This is a good point as if you have a film were there

I believe that in I Confess, the first four minutes is not only the most important, but it also relates back to the rest of the film perfectly. In the beginning of I Confess the audience is shown several shots of the beautiful povince of Quebec to emphasize the location and then we see a murder and a confession occur in the same night. In this essay, I 'm going to be analyzing the mise-en-scene, cinematography, and sound of the cinematic masterpiece I Confess by Alfred Hitchcock.