hitchcock g

hitchcock g - CTCS 469 Hitchcock Notes 9-1-10 Blackmail:...

Info iconThis preview shows pages 1–3. Sign up to view the full content.

View Full Document Right Arrow Icon
CTCS 469 Hitchcock Notes 9-1-10 Blackmail: experimentation in narrative 11 episodes Introduction against classical structure… not how you introduce a film 2 nd episode turns into a romantic comedy Silly, petty obstacles… lost gloves etc. Then becomes a woman in distress thriller Psychological drama of guilt Followed by a police investigation Another psychological drama of guilt Triangle psychological drama with blackmail Another documentary style investigation Another psychological drama Suspense thriller chase Unresolved ending Hitchcock wanted to have her booked behind bars in jail…studio wants a happy ending Hitchcock gives them a happy ending of sorts… In reality, far from a happy ending He complies, yet he doesn’t… female protagonist still bearing all of this guilt We know this because the last image we see is the jester Structure motif that appears in the film 9 times The importance of the jester… Shakespeare made the jester a convention in Western literature Functions as the conscience of the king… always pointing out the moral of the story 9 times it’s the same picture of the jester… does he change at all? It’s not the frame, but the juxtaposition of the frame that adds meaning… different every time The object before or after the jester changes… each time adds different meaning First time Daisy sees the Jester it is festive Second time guilt because it’s after she commits the murder Last time we see the Jester we leave Daisy not making the confession… The jester is pointing at her… she will live with this guilt Visual analysis: Rape scene: German expressionist worked within the frame
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
The street and the guilt: frame after frame after frame British museum/letter writing: collision montage Hitchcock utilizes this structure in lots of his movies The alternation of objective/subjective perspective of the protagonist We see the objective shot of the protagonist and then the subjective shot of the protagonist… especially in her letter writin Frame of the steps: Objective corralative Extreme long shot of London: A god shot… used a lot Catholicism and guilt (confession and transfer of guilt) à transferring her guilt to her man Filmed like a telephone booth confession Trick shots: Ascends the artist’s apartment Camera goes up the train… doing things no one quite did before Uses landmark architecture He’s going down the rope and there is a face… King Ramsus III… juxtapose with an image of power Sound design Not the first British talk… Britain is converting to sound Filmed it silent and then added sound after Experimental narrative (offscreen lines/scream)… Hitchcock demonstrates that the soundtrack doesn’t need to be the same as the visual sound track Camera moves when the characters talk and move Emphasis of subjectivity in the soundtrack (German Expressionist)
Background image of page 2
Image of page 3
This is the end of the preview. Sign up to access the rest of the document.

This note was uploaded on 03/22/2011 for the course CTCS 469 taught by Professor Casper during the Fall '08 term at USC.

Page1 / 31

hitchcock g - CTCS 469 Hitchcock Notes 9-1-10 Blackmail:...

This preview shows document pages 1 - 3. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online