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

Charlotte Perkins Gilman's "The Yellow Wallpaper" to F. Scott Fitzgerald's "Winter Dreams" writing styles; James Baldwin's "Sonny's Blues" compare to my own life. Modernism vs. postmodernism Over the course of the late 19th and early 20th century, American literature began to turn inward. Instead of looking to outer manifestations of the human character, American authors began to use interior monologues as a way of creating a narrative arc. Stories such as

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,

ALFRED HITCHCOCK was born in London in 1899, and came to America in 1940 to make his mark as a film director. He became one of the most renowned and emulated directors of horror and suspense film. Many of his films are still considered classics, such as "The Birds," "Psycho," "Rear Window," and "North by Northwest," and they starred some of the biggest names in Hollywood, including Cary Grant, James

Genre: The Conventions of Connection" by Leo Braudy is a bold and well-written article which acknowledges how too often in film theory and criticism, genre films are dismissed as fluff and all-together one-dimensional pieces of art. Braudy makes a strong case for genre films explaining how they actually represent intricate subversions or indictments of reality and he uses specific examples from westerns or musicals to support his case. Braudy acknowledges that

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