North By Northwest Analysis

The first shot we see of this sequence is a low angle which shows, quite simply, the sheer enormity of the building Max is about to enter. The shot slowly pans down as the foreboding notes of the score

Alfred Hitchcock’s film North by Northwest (1959) is famed as a classic man-on-the-run thriller, following protagonist Roger Thornhill as he flees across state lines in a mad dash to save his life and unravel the mystery to his extraordinary predicament. However, mid-way through the film Thornhill’s quandary is further complicated by the introduction of Eve Kendall, a beautiful yet mysterious woman he encounters on a train during his escape from the authorities and people trying to kill him. During the dining room scene on the train, Hitchcock expertly uses the camera to convey the characters thoughts and feelings. Interestingly, in a film that has several sequences with complicated cinematography and editing, the dining car scene is

While much of the neighborhood appears on-screen in the beginning of the shot, one important thing is notably off-screen the whole time: The view from which the camera pivots. Behind the camera was the apartment of L.B. Jeffries, and the camera pans to the left, inside his window, to finish with a brief tour around his living room that teaches us his most important character traits. We see first, in an extreme close-up of a cast, that Jeffries has a broken leg. And then the camera pans left and we see why: A broken camera appears on screen, and a rack focus shift to the background shows a photograph of an automobile accident with a tire flying straight at the camera. Then several other framed photographs of exciting events appear on the screen, telling us Jeffries is a photographer who craves adventure and excitement.

Everything in the frame is in focus, which in a cinema viewing is a lot to take in, especially considering the films aspect ratio of 1.85:1. However, the audiences’ eyes are cleverly guided around the frame by almost unnaturally loud sounds, some of which are accentuated in post-production by Tati. The sounds against the floors create a reverbing echo, highlighting the absurd impracticality of the building. A man and a woman sit in the bottom left hand corner of the frame in what appears to be a waiting area. They are dressed identically in their monotonous grey colours, as if they are enslaved to the colours surrounding them. During the shot’s beginning, the audience is drawn to the nuns and their rhythmic footsteps as they enter the frame. Then, through a combination of actor gestures and dialogue, this gaze shifts to the two characters anchored in the foreground of the image. The rattling of a table being wheeled out by a man in white into the frame moves our eyes, as well as the couples own attention, to

The camera follows the elders of the block, Da’ Mayor and Mother Sister, as they talk in her bedroom. For a rare moment in the film Da’ Mayor’s and Mother Sister’s eyes are at exactly the same level, showing that as different as the two may have seemed, they are very much the same. Then the camera slowly pulls out as the two stand and sluggishly walk down a hallway toward a window. Now, where a director would typically have to cut and setup a new shot, Lee pulls the camera straight out of the window as Mother Sister and Da’ Mayor survey the block. The audience would expect to see next exactly what Da’ Mayor and Mother Sister are looking at, but instead Lee quickly pans over in the opposite direction to reveal Mookie standing in the street bellow. By doing this Lee makes a connection that both the elders and Mookie are, in the words of Mother Sister, “still standing.” The shot is not particularly tight but still has a cramped feel due to the clutter of things in the background, the heavy shadowing, and the red tint on the lighting. The red lighting gives sense of volatility to the shot, which is contrasted by the slow camera and character movements. These slow movements are analogous to the block as, regardless of how slowly, it too will go on and life will continue. This shot is in the tradition of mise en scene advocates like Bazin in that,

To see what they see, and compare our own thoughts with the evolution of the characters and the story. The dexterity of the images, and the impact that each scene has in portraying this theme, guide the viewer throughout the film with little use of dialogue and action. Our central character “Jeff,” is struggling with his casted imprisonment, his need for adventure is apparent as he watches outside his window. Conflicted with his girlfriend and conflicted with his theories, his character becomes more palpable, we begin to realize what is going on not only on the outside of him, but the inside of him as well. The aspects of the outside courtyard and the visual isolation of each apartment, help depict the humanity of each individual and sympathy for even the darkest characters. Hitchcock uses his camera, just as our protagonist does, to focus with him. The camera angles are depicted in a way to which we react with the character, rather than at the character, and eventually expose the minor elements of the story that bring to fruition the suspense of the movie and the thrills of discovery.

The lighting there is much darker than outside without any light. There is a medium shot from low angle facing the cellar door. Then, Lila opens the door and slowly walks down the stairs and proceeds to another basement room. The scene of walking steps from the door down into the room generates a mysterious mood and it symbolizes that Lila is going deeper into the hidden secrets. The shot then edited to another brighter room with lights on and a worn out setting continues with Lila opens the door producing a creaking noise. Then, it shows a medium shot of a back of a woman sitting on a chair with her hair-tied in a bun. Lila then walks closer to the woman and call Mrs. Bates. When she is walking, the camera is constantly stay and Lila is getting closer and the focus point changes from the hanging light bulb to her face. Her facial expression shows that she is curious about the appearance of Mrs. Bates in the cellar. She taps on the right shoulder of the woman and the body of the woman slowly jiggles back and turns over. There is still medium shot when she taps on her shoulder and audience can see the shadow of the woman reflected on the wall behind. Then, the shot is cut to a close-up shot with the skeletal of the woman’s corpse with empty eye

The movie starts off with main character Tommy going to see his father. His father is the one that owns the facility. When Tommy finds his father in a meeting, his father tells him to go with him and his employees to take a tour of the building. While on that tour they walk underneath a pallet that is elevated by a forklift. This is very dangerous because there is a lot of things that could happen. One would be that the forklift would move forward and run them over because the position of the load covers the view of the operator on the lift. The second would be that the operator of the forklift would lower the pallet on top of them. The last option is shown on the movie in which Tommy runs his head into the pallet.

The viewer is introduced to the dolly zoom in the first scene when they look through Scottie’s eyes as he hangs from the gutter and looks down to the pavement below. The dolly scene gives the sense of vertigo. In this scene it makes the ground seem so much farther below than what it is. Hitchcock uses this shot throughout the film to give a feeling of false reality. The shot works by moving the camera back on a track while zooming in at the same time. This shot is also known as the vertigo shot. In the bell tower, this shot clearly puts the viewer into what Scottie is feeling at the time. It makes the viewer seem uneasy like they might suffer from Vertigo. In addition to this, Hitchcock perfectly uses the camera angle and the actors to tell a separate story. In the scene where he meets with his old friend, Gavin Elster, Hitchcock basically choreographed the actor’s movement and camera angles to set a mood and give foreshadowing. In this scene, Elster is sitting down while Scottie is standing in front of him asking the questions showing dominance. Once Scottie sits down, Elster stands up and stands on the steps to the second level, giving this sense of him being higher than Scottie. The camera follows Elster but then once Elster confesses why he wants Scottie to follow him, the camera pans in tight to his face. At this point Elster blocking is extreme in this shot. After his confession, the two men stay in the same position as the camera angle retreats on a dolly bringing both men into frame. This example shines light onto Hitchcock’s use of blocking and camera use that is evident throughout the film. Another major use of the camera is the way it used to show Scottie’s point of view. The narrative is restricted so that means the viewer can only see what the protagonist is seeing at that time. This is clear in the scene where Scottie is following Madeline as she

The United States before the civil war was basically split into two regions, the North and the South. These two regions had very different cultures, economics, and climates which led to different lifestyles and perspectives. Problems caused by the differences between the North and the South eventually led the nation into a great civil war- the bloodiest war in American history.

Northwest Canadian Forest Products Limited is a company that owns and operates five saw mills in British Columbia and Alberta, Canada. They produce lumber for construction in a few different countries. The President of the company is dealing with a tough situation with one of her mills in Jackson, British Columbia. The mill in Jackson is her least productive mill and she soon has to make a decision that could cost the company a substantial amount of money. She has the choice of either investing 50 million in the weak Jackson mill or to invest more that 50 million in a new mill high demand area. The president has been informed of the many complaints from the managers and supervisors, but nothing seems to be the right solution.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

North by Northwest is an adventure, crime, mystery thriller that was created in 1959 by the director Alfred Hitchcock. Alfred Hitchcock is famous for many movies in the thriller genre such as Psycho, Vertigo and Rear Window. Alfred Hitchcock was a famous director well renowned for his style. Hitchcock enjoyed suspense in his films as Hitchcock said “Always make the audience suffer as much as possible.” (BrainyQuote, 2016) Hitchcock loved creating suspense in his movies. Hitchcock was amazing at creating suspense in very movie he directed there were twists and turns and no one would know how the story would end. Hitchcock was so good at suspense, he earned the nickname “master of suspense”. North by Northwest is an amazing example

Inscribed on the entry-wall at the ancient Greek Temple of Apollo at Delphi are the words “know thyself”. Can a leader be truly effective without knowing one’s self? Although it has roots in previous times Authentic Leadership is a concept that began to emerge in its modern form in the 1960s. It wasn’t until 2003 when Bill George wrote about authentic leadership and its connection to ancient Greece that it became a popular leadership concept (Clark, 2014). Bill George is senior fellow at Harvard Business School, where he has taught leadership since 2004. He is the author of four best-selling books: 7 Lessons for Leading in Crisis, True North, Finding Your True North, and Authentic Leadership, as well True North Groups. His newest book, Discover Your True North, was published in August of 2015 along with its companion workbook, The Discover Your True North Fieldbook. He describes authentic leadership as a style of leading that is consistent with the core values and personality of the leader and one who leads from an honest, ethical and practical perspective. It is through the leaders authentic self, and not just the concept of self but more importantly the actions of the leader and how that is perceived by others that determines whether they believe the leader is authentic. It is through honest relationships and ethical actions that help to maximize the efforts of others in achieving the goal (George, 2016).

In this scene, Roger Thornhill (Cary Grant) is with the his black car in the woods meeting Eve Kendall (Eva Marie Saint) and her white car after his “death.” In the film, it is planned that Eve shoots Roger with blanks and that they would meet elsewhere after Roger was pronounced dead. As Roger exits the car to meet Eve, the audience can see that compositionally the scene is divided down the middle. The trees in middle divides Roger’s world from Eve’s world. Hitchcock purposely had the scene set up to be parallel and symmetrical. Having Roger and his car on the left side and Eve and her car on the other side.