How Does Hitchcock Create Tension In The Lodger

Shortly after the passage above, there is another change in the mental state of the narrator. She begins to show symptoms of paranoia, another classic sign of schizophrenia. Speaking of how glad she is that her baby does not have to stay in the room with the yellow wallpaper, the narrator says "Of course I never mention it to them any more— I am too wise,— but I keep watch of it all the same" (Gilman 430). She again shows her mistrust of the people who are caring for her when she says "The fact is I am getting a little afraid of John. He seems very queer sometimes, and even Jennie has an inexplicable look" (Gilman 431). At one point she catches Jennie looking at the yellow wallpaper. She says "I know she was studying that pattern, and I am determined that nobody shall find it out but myself!" (Gilman 432). This kind of paranoia is a solid indicator that the narrator's psychological state is deteriorating towards schizophrenia.

The next morning he meets up with Jonah in the hotel in New York. They begin to talk about the goal and the problems at the plant again. The next two figures that Jonah tells him about are statistical fluctuations and dependent events. He explains how these affect his plant the runs out of

People are always under pressure to do the right thing, the thing that is not right for them, but what is right for others. We hurt the ones we love to protect them, whether it is from ourselves or others, it is whatever is seen as the better choice for us. Choices and sacrifice displays hurting loved ones accurately by taking examples from Forrest Gump, My Sister’s Keeper, The Great Gatsby, The Crucible, and The Divergent. The reasons that people hunt loved ones is because of the internal conflicts that will ultimately affect them and their decisions they make. As to show selfishness or protection of themselves.

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.

Religion played a key role in the captive lives of the writers of the three captivity

“A Tree Grows in Brooklyn” by Betty Smith, is a novel that showcases the lives of a poor family living in Brooklyn and the people that are connected to them. The story revolves around a young girl Francie and about the different hardships her family and she goes through. The main theme of this book is tenacity and is shown by the many ways the Nolans find happiness.

     Hitchcock uses misery, tragedy, and death to show the emotions of his characters. At no point is this more obvious than the end of the movie. Hitchcock spends the entire movie building up to this point and in the end he makes it extremely clear how tragedy has changed the relationship of everyone. After the nagging husbands murder of his wife has been confessed you see

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

Hitchcock seats the Charlies across from one another and the action plays out in accordance with the classic 180-degree rule for conversation. The 180-degree rule is the most basic way to film two people having a conversation while sitting opposite from one another. This series of shots usually consists of: establishing shots, two shots, close-ups of each actor, insert shots, and then possibly a re-establishing shot. Hitchcock manages to bring a lot of tension out of this fairly conventional set-up by the way he constructs his scene. The two characters sit down across from one another and are positioned on the far edges of the frame, which emphasizes the emotional and psychological distance between the two. In the same shot Hitchcock sets up for the “shot, reverse shot” conversation, by having Uncle Charlie lean in towards his niece. His leaning serves as a lead in to the conversation about to take place. It is important to note that during this same shot, Uncle Charlie lays out a napkin on the table and smoothes it with his hand. The napkin exists to provide a parallel to the way the scene will play out. The hands of Uncle Charlie can be seen as those of the director, and the napkin as the fabric of the scene. The napkin is laid before us smooth as the scene begins, and becomes increasingly tight and twisted by the hands of Hitchcock as he slowly tightens his hold on the audience. It also has the importance of revealing something about Uncle Charlie’s character. It

The tension in Dr. Strangelove does nothing but increase for the majority of the film. Right off the bat, the audience is clued into the fact that government officials have less than twenty minutes to recall all planes before they appear on Soviet radar. From here the tension builds, beginning with the realization that the madman who wants to keep the Soviet’s from contaminating his bodily fluids is the only one with the recall code. Then there’s the discovery that there is no way to reach said madman by phone or radio. Troops are then sent to the military base in an attempt to capture Ripper and find the code, but Ripper kills himself before he can be taken, leaving Mandrake to try and piece together the code from Ripper’s rambling notes on

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).

After the journey ends, we are left to contemplate the morality surrounding voyeurism, and Hitchcock’s own proposal about the nature of the practice.

One of the personal favourites of Hitchcock and richest among the works of 1940s Shadow of a Doubt (1943) presents a brilliant portrait of an American family in the northern California town of Santa Rosa. Here we find Newton family is entrapped in a labyrinth set by the world and it not even provides a safe place for true lovers. At the centre of action is a marriage stabilised through loyalty and trust and not affection. Emma Oakley Newton (Patricia Collinge) has married beneath her class. The evil intrudes the family in the form of the visiting brother of Emma, Uncle Charlie (Joseph Cotton) who is callous about money. Emma cannot afford a huge sum as her husband Joe Newton ( Henry Travers) is a only a bank clerk and they had to support a big family. Unbeknownst to the family, the uncle is a serial killer who preys on wealthy widows. Later his niece young

    In a store, Mrs. Dietrich "watches her [Nola] covertly," and once Nola notices that she is being watched, she walks "away angrily" (Oates 836).  She does not see that Mrs. Dietrich may only

In this essay I have chosen to analyse two key scenes, each from two of Hitchcock’s most critically acclaimed films, ‘The Birds’ (1963) and ‘Psycho’ (1960). Both of these scenes from both films display the female protagonists at their most vulnerable, facing the threat and fear of death.