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Alfred Hitchcock Directing Style
In order for their movies to draw more audience and be more interesting, filmmakers know that they have to use scenes which captivate the viewers and make them identify themselves with the character in the movie. Alfred Hitchcock is a true classic when considering movies filled with sex, suspense, and humor, as there are little people that can claim they've been unmoved after having seen one of the director's movies.
Alfred Hitchcock had gotten involved in the filmmaking business in the first half of the twentieth century. From the start, his movies seemed to be different from the typical movies being produced during the period. Hitchcock broke all the rules which the movies of those times respected as he presented various deviant acts during his movies. Such movies were difficult to find an audience for the fact that people weren't accustomed with explicit sex, brutality, and gruesomeness.
The director took special care in making his audience drawn to the movie from its beginning to the end. During the broadcasting of Psycho, Hitchcock asked for the doors to the cinema to be closed for those that wanted to enter.
Psycho is a motion picture that had surely intimidated its audience. From the very start of movie, the viewers feel that they are being presented with a distorted image of an ordinary lunch. Marion and Sam have sex in their hotel room instead of finishing their food. This is a weird moment from the audience, as they consider that the movie is nothing of what they thought it would be. Scenes like that of Marion's look when she's got her back turned on Sam, have the viewer identify themselves with Marion's character, as they have a feeling of intimacy with her. Unlike Sam, Marion is more natural, and more likely to get the audience to sympathize her.
Hitchcock cleverly uses anything from lighting to clothing in order to give more meaning to his films.
Works Cited
Psycho. Dir. Alfred Hitchcock. Paramount Pictures: 1960-1968, Universal Pictures: 1968-present.
This ties closely with Hitchcock's belief that "dialogue means nothing" in and of itself. He explains, "People don't always express their inner thoughts to one another, a conversation may be quite trivial, but often the eyes will reveal what a person thinks or needs." Thus the focus of a scene within his movies never focuses on what actors say, but rather on what they are doing. Unlike a painter,
Hitchcock even placed the camera behind the wheel of Scottie's car as he followed Madeleine around the city. In addition, Hitchcock uses the first-person technique to put the audience in the right mind frame of a suspense thriller. "Vertigo" ends in one of Hitchcock's most shocking, abrupt, and negative scenes. From Scottie's viewpoint: Madeleine! INT. CHURCH, SAN JUAN BAUTISTA -- DAY Scottie runs in, stops at the foot of the steps, hears
Edgar Allan Poe as seen through the lens of Hitchcock Several authors have explored the aesthetic relationship between Edgar Allan Poe and Alfred Hitchcock, particularly writers like Dennis Perry and Donald Spoto among others. Although Poe has had major influence on many artists, (with Hitchcock demonstrating many of Poe's influences and gaining worldwide recognition for it) few have truly attempted to understand Poe. The only one who seems to have
Otherwise, it is a bit abrupt that there is no mention of this film until the second half. Each paragraph is relevant to your proposition. Great choice to include quotes from other crew members that expressed how excited they were to work with Hitchcock. You also offer interesting perspective by choosing a director who was successful among his peers, fans, and critics, who made the shift from mainstream into
He consistently uses the technique of lifting the curtain to introduce scenes and essential actions. This kept his films rooted in the early traditions of theater but in a covert manner. Many of these theatrical illusions were portrayed using modern interpretations, such as his use of the curtain effect with the image of an opening door into a new environment. These traditions were at the very root of his
ALFRED HITCHCOCK: A Master of Duality For many, the name Alfred Hitchcock conjures hazy and disconnected memories of Cary Grant and Ingrid Bergman in Rio, Tippi Hedren being chased by killer birds, or Jimmy Stewart in a wheelchair; but for others -- those that are somewhat more experienced with the work of Hitchcock -- the utterance of his moniker means much more. Indeed, many consider Hitchcock to be not only one