Philosophical Themes In Vertigo

The lighting used by Hitchcock also serves to portray Madeleine as a fantasy woman, using the lighting to highlight her face. As Madeleine passes by Scottie in the restaurant she is bathed in a soft light which makes her all the more noticeable against the backdrop of a dimly-lit restaurant. Furthermore, as she passes by him, she is shown in a full body shot in the center of the frame, which Hitchcock uses to create an overwhelming sense of romance. Here, Madeleine is the desired object clearly separated from her mundane surroundings. The viewer is aggressively confronted with Madeleine’s image and this allows us to be swept up in the romantic fantasy along with Scottie. The lighting used in this scene actively draws the viewer to her features and ensures that all attention is on her. The audience are enticed and seduced by her and this stretches to Scottie as well as we can see that he is drawn to her and has to make an effort to be covert.

In 1930, the Hay's Production Code was introduced into the film industry to regulate films that were produced. It regulated several different aspects of movie scenes containing crimes against the law, vulgarity, sex, obscenity, profanity, costume, dances, religion, locations, national feelings, titles and repellent subjects. (History of the Motion Picture Rating System) When scenes in films dealt with crimes committed against the law, the Hays Production Code stated that the crimes could never be presented in such a way to throw sympathy with the crime as against law and justice or to inspire others with a desire for imitation. The code goes into specific detail on several different crimes and how they shouldn't be shown in the films.

Post World War II America was a society full of anxiety. In the late 1950s Americans were deeply troubled by so many social shifts. Major changes were occurring both internally and externally. They were in the midst of the Cold War, and were vastly approaching the atomic age. There was a communist scare and fear of Russian expansion. Joseph McCarthy was hunting down major celebrities for their communist involvement and the 'Red Influence' seemed to be everywhere. The move toward suburbia and the growth of multinational corporations were flourishing. People seemed to be pulled in every direction. Another change that would have a major impact on society for years to come was the

In the 1943 film Shadow of a Doubt, Charlie Newton soon has her world altered as she discovers the dark secrets of her Uncle Charlie’s past. Feeling a special connection with her Uncle, Charlie eagerly wishes to discover more about him at first and innocently becomes involved in hiding his identity as a serial killer. As the film builds up the mystery behind Uncle Charlie and his true intentions, the Mise En Scene creates an environment which explores the Uncle’s darker motivations while also supporting the unsuspecting point of view of Charlie. Elements of mise en scene such as lighting, space, and composition continue to build this environment in the film, even when the roles between Charlie and her Uncle change.

In effect, the simplicity of the information provides an easier story to follow and thus a smoother, more basic array of details that the reader must interpret. However, this simplistic style is greatly different from the one that Washburn chooses for the depiction of the crime scene.

Several film theorists have used a variety of tactics and view points to analyze feature films since their inception. One of the most prominent theorists of those that analyze films from a feminist perspective is Laura Mulvey. Mulvey is famous for her essay “Visual Pleasure and Narrative Cinema,” which presents an array of theories involving the treatment of women in films. Arguably the most notable idea presented in Mulvey’s work is the existence of the “male gaze” in films. This essay will examine Mulvey’s theory of the male gaze in relation to Alfred Hitchcock’s film, Vertigo. Vertigo does not fit the criteria of a film that

The Hollywood Classical Film characteristics in Vertigo, helps to develop the plot and story. The first element of a Hollywood Classical Film that I will be examining is that individual characters are casual agents of the film. This means that characters in a film act as if they really exist, they have goals, fears, feelings, motives and emotions. The characters in Vertigo who are casual agents are the following: John Ferguson is the main character, he is a ex-cop who suffers from a fear of heights, he is spying on Madeleine Ellester and eventually falls

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.

The novel follows the realization of Edna Pontellier’s identity outside of her marriage and children. Up until the point the novel starts, Edna Pontellier has been complacent in her marriage and just going along with whatever her husband, Léonce Pontellier, says. Edna’s submissiveness to her husband is an example of the acceptable husband and wife relationship during this time period. The husband was the head of household and the wife was to follow her husband’s lead. Men of this time were conditioned to believe this type of relationship is the kind they should strive for. Léonce Pontellier has been conditioned to play the part of a happily married businessman who is competent in providing for his family. He is described as a “man [of] forty, of medium height and rather slender build; he stooped a little. His hair was brown and straight, parted on one side. His beard was neatly and closely trimmed” (2). He is an average looking man who is particular about his look always being neat and tidy. He wants to make sure that he always looks presentable so he is accepted by his fellow businessmen and so he can impress the clients he meets with on his frequent business

The woman on the other side of the bed is a direct representation of Franny. The role the woman plays is like an alter ego projection. The patient in the bed next to Franny’s is very beautiful and looked identical to Franny because she had no hair, she was skinny and had very pale skin. Franny can relate to this nonexistent figure because they are going through the same things, the alternate version of Franny keeps her alive and they are equally alike IN>>>>>.

Already the DVD covers point to a certain salience of red in American Beauty, blue in Shame, and white in Revolutionary Road; however, the films do not only conform in an equally striking importance of the use of colours, they also share similarities in meaning communicated by them. Since the semiotics of colour still depends on personal perception to a certain extent, this analysis indeed considers other critics’ opinions but is largely based on my personal receptions of the film and associations the use of colour has evoked in me. The focus of my observations is primarily set on how the shades of red, blue, and white as well as the general antithesis of warm and cold colours reflect Lester’s, Frank’s, and Brandon’s state of mind and their surroundings. Furthermore, lighting and the contrast of bright and dark are addressed and exemplified through incorporated screenshots of the films. Another outstanding aspect of effectively tying in form with meaning in all three films is their respective soundtrack; however, an in-depth analysis of the use of sound and music would go beyond the scope of this thesis and can thus be considered an interesting approach for addressings

The ideal audiences for the film Vertigo could be separate into middle age working class male and middle age female or housewife. Male ideal audiences would probably felt attached to John by his job which is the mystery detective and also the ability that he could had the beautiful woman by side which is Madeleine. Female audiences would usually project themselves to Madeline, who has attractive appearance, elegant personality and also wealthy background. The whole story is about the mystery of this beautiful lady Madeline, which is one of the most appealing plots that could drag audiences’ attention.

The genre of horror films have been spooking audiences since the early 1900s with films such as The Abominable Snowman and Nosferatu. Although fans of these movies are scared, they continue to watch to the movies every decade despite their fears. This drive to see movies that induce fear but an overall avoidance to fear is known as a paradox of horror films. In 1990, Noel Carroll outlined the paradox of horror in his book entitled The Philosophy of Horror. Carroll discussed in his book at least three theories that could solve the paradox of horror but each are flawed. The two theories that are connected the most with experience and the knowledge of what a horror movie experience is the “illusion theory” and the “thought theory of emotions” but Carroll leaves out Edmund Burke’s sublime in his discussion of the paradox of horror. This concept of Burke’s sublime can be used without flaw to dissolve the paradox of horror films unlike the “illusion theory” or the “thought theory of emotions.” The paradox of horror movies is that people are afraid of horror movies despite knowing that the movies are fiction. Carroll attempts to use the “illusion theory” and the “thought theory of emotions” to explain the paradox but neglects to mention the concept of the sublime which can be used to explain

In The Uncanny, Freud discusses the different definitions and claims that various theorists have made regarding the feeling of uncanny. He defines the different factors that provoke the uncanny in humans and demonstrates how these factors elicit that strange and seemingly inexplicable feeling. Similarly, in Vertigo, Alfred Hitchcock, adopts the various factors that cause the uncanny to alter Scottie’s identity and beliefs. Ultimately, when Scottie is transformed from a rational being to a psychotic obsessive, it serves to indicate the severity of Scottie’s mental instability and his detachment from reality.

Shutter Island and Insomnia use stylistic features to unpack the theme of appearance versus reality and documents the effects of the psychological effects on the protagonists. Both films portray the common theme of appearance vs reality in different ways. Noticeable similarities and differences can be seen in the portrayal of social issues, cinematic techniques and characterisation.