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,

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

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

When his dead mother appears in the wheelchair and the viewer realizes he has been recreating her voice himself, and the sheriff confirms this as he relates Norman's story. While "The Birds" ends relatively happily, at least the main characters survive; "Psycho" ends with Norman in a jail cell. All the loose ends are wrapped up, but in one, the end is dark and disturbing, while in the other,

Even if it successfully brings back to life a story forgotten by the public and distinguishes itself from today's typical films, Disturbia is no match for Rear Window. It is not certain if Disturbia is homage or a remake to Rear Window, since the two movies are not exactly the same, but they are not very different either. While some might consider Disturbia to be a rip-off to Rear Window

Cain (afterward coupled by Mickey Spillane, Horace McCoy, and Jim Thompson) -- whose books were also recurrently tailored in films noir. In the vein of the novels, these films were set apart by a subdued atmosphere and realistic violence, and they presented postwar American cynicism to the extent of nihilism by presuming the total and hopeless corruption of society and of everyone in it. Billy Wilder's acidic Double Indemnity