Vrtigo : A Film Analysis Of Vertigo

Through distinctive images composers develop interest, drawing the responder in and thus providing insight into the experiences of others. This is demonstrated in Amanda Lohrey’s novella ‘Vertigo’ as Luke and Anna find themselves in a new and disorientating environment as they attempt to build a new life and in the ‘The Red Tree’ composed by Shaun Tan, through the nameless girl’s journey as she attempts to find herself and her place in the world. Meaning created by distinctive images creates interest thus permitting the responder to gain a greater understanding on how the experiences help shape one’s self.

Window, by Alfred Hitchcock. This male gaze idea is present in most forms of media that

This technique momentarily suspends the omniscient gaze of the camera, and evokes the spectator’s—as well as Hitchcock’s—desire to “capture” the female protagonist as she escapes off-screen. In this context, the seemingly objective tracking shot may in fact reveal itself as a violent, subjective

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.

Through the manipulation of gazes, viewers of Rupert Goold’s film are able to experience the thoughts and consciousness of Macbeth. As what critic Ben Brantley describes as “raw susceptibility,” Lady Macbeth foreshadows danger through Macbeth’s poses.

How auteur theory can be applied to the study of Hitchcock’s North by Northwest and Vertigo

Interpretation and understanding are essential portions of films since it allows the viewers to comprehend the plot. Concurrently, there are films that allow the characters to make sense of their own issues within the footage and engage in the perception of it. In the films, Rear Window (Hitchcock, 1954) and Ali, Fear Eats the Soul (Fassbinder, 1974), the characters are shown interpreting their views, looking for meaning, and forming judgements, as a consequence causing reaction. Both films exhibit the protagonist watching and interpreting its surroundings based on what they see close to them. Thesis

Vision and the act of looking is an important and recurring theme in many horror films. In early gothic literature, such as in Guy de Maupassant 's Le Horla, the author presents vision as definitive and universal proof and stresses the importance of seeing as well as the act of showing gore. As a society, we are routinely told ‘seeing is believing ' in the wake of any paranormal or supernatural phenomena, placing weight on the tangible. However, as science and technology have progressed the faithfulness of visual representation is increasingly throw into question, which in turn has led to societal anxiety. A few years earlier, video footage of an event rarely had its validity questions, whereas now it is easy

Vertigo (1958), directed by Alfred Hitchcock, is an American psychological thriller film that communicates ideas, themes and issues through the use of its visual style. The visual stylistic choices enable the exploration of madness, scopophilia and feminist film theory within the film. This paper will critically analyse how this is realised mainly through the use of “the Vertigo effect”, spirals as a motif, the male gaze and colour. The theme of madness is a centerpiece to the film.

The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more

I must say I absolutely loved this western. I’m not exactly sure what the original version of the western looked like, but I loved how the writer really made it their own. I was immediately hooked from the very start with the opening “As he drew near the mass of tree shadows that edged out to the road, he heard the voice, the clear but hesitant sound of it coming unexpectedly in almost-dark stillness.” The characters, the rifle, the mystery surrounding the elusive Cliff and his whereabouts, and the intriguing cowboy language such as “You better light down.” The writer seemed to have been very familiar with westerns, maybe from watching old western movies because a lot of the language is outdated phrases like “astride the McClellen saddle” or

Film scholar Linda Williams has observed that silent films in the early 1900’s often portrayed the heroin to be naïve and figuratively or even physically blind. This rests on the concept of voyeurism and objectification of women as well as the fact that women exist solely for the purpose to be looked at and are not in the position to “see” for pleasure themselves. The true satisfaction attained during voyeuristic activities is from the victim being unaware of being watched, making a “blind” woman an ideal victim for a voyeur because of their inability to detect being watched. Contrarily, Mark utilizes a camera with a mirror and a knife attached to the end of its tripod as a weapon. This weapon is essential for fulfilling his goal of filming his victims in genuine terror as they prepare to be killed. Mark does not kill Mrs. Stephens because even though he prepares to kill her at one point, he realizes that she is unable to watch her own death due to her blindness, thus not contributing to his film and experiment. This shows that Mark is not an ordinary Peeping Tom, and that his voyeurism stems primarily from his childhood and the filmed episodes of his life that his father directed. His perverted acts of voyeurism and violence are for purposes much larger than just his own pleasure.

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Laura Mulvey understands Sherman’s Untitled Film Stills as to be rehearsing this structure of the ‘male gaze’, “The camera looks; it captures the female character in a parody of different voyeurisms. It intrudes into moments in which she is ungraded, sometimes undressed, absorbed into her own world in the privacy of her own environment. Or it witnesses a moment in which her guard drops and she is suddenly startled by the presence, unseen and off-screen watching her.”[v]

Laura Mulvey has discovered the term of ‘Male Gaze’ which has been discussed in her text, Visual Pleasure and Narrative Cinema, which was published in 1975. In her text she has discussed that in film, audiences get to experience to interpret the characters in movie from men’s perspective because the camera acts as male gaze. Male characters are more to be active which they drive the narrative in films. On the other hand, female characters play passive roles that are act as object for visual pleasure. Tap and Touch Cinema is performance art which Valie Export has done around the Europe in 1968 – 1971, it will be relating to the male gaze.