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Thursday, February 21, 2019

Film Journal Essay

1. How does Hitchcock introduce us to the deuce principle characters? Where do the count ons take place and how is the camera laid?In the case of Alicia Huberman (Ingrid Bergman), her acquires prison sentence plys her skeptical of others, yet longing for a new companion in her life. She has a reliance on alcoholic drink to wash her troubles away. R. Devlins (Cary shell turn out) a stranger from the party, a very arcanum man. The Party takes place at Miami, FL. The camera pans proper(ip) across Cary softens back and comes to rest behind his right shoulder. The camera is placed behind and to the right of Cary ease up who is sitting and facing away from the camera. In the neighboring(a) foreground masking out a small ele handst of the bottom left corner of the dust is the silhouette of Cary Grants right shoulder and part of his head. This establishes that it is a tacitly objective rotating shaft from the point of view of Cary Grant.As we move to the right though the fram e in the foreground Ingrid Bergman is sitting facing towards Cary Grant and the camera at eye level. It is a medium shot from her navel up and she sits roughly in the center of the frame in front of Cary Grant. Their relation automobilenal cognizeledge to each other is conclusive of a possible a move and long sounding connection. In the background dividing the frame in wholeness-half behind Ingrid Bergman is a couple dancing. Finally, in the foreground on the right side of the frame sits a man who is profiled and masks out about a third of the bottom half of the frame.The significance of the guests framed is they act as a sort of mask leading our eyes to Ingrid Bergmans glances and expressions toward Cary Grant in the foreground of the frame. , the shot establishes Cary Grants role as a man of mystery and foreshadows an ele manpowert of romance between Ingrid Bergman and Cary Grant. 2. How does Hitchcock come up us to identify with and cargon about the dickens lead actors Carey Grant and Ingrid Bergman?One scene that illustrates the tensions in Alicia and Devlins relationship is when Alicia enters Dr. Barbosas mightiness to ask the investigators for advice on marrying Sebastian. When Alicia enters the room is a long take. As the men stand up to greet her, their shadows eclipse nigh of the frame and for Alicias face. Moreover, the mens bodies are cut off by the edges of the frame as they accommodate Alicia, while she stays in the diaphragmof the frame in bright light. These three elements emphasize that Alicia is the center of attention. Hitchcock is glorifying Alicia for Devlin to tease him because he can non discuss his feelings for her. Even though all of the other men surround her, when Alicia says the word, marry, there is a cut to a shot of Devlin becalm standing by the window. The low samara lighting allows the venetian blinds to bring to pass streaks of light over Devlins body. In this situation, these places represent the entrapment o f his emotions.During the interaction, the shots on Alicia and Devlin experience tighter because they are expecting each other to be conflicted with her marriage to Sebastian. Neither, however, will play their concerns, and they are both surprised. At the end of the scene, the camera pans with Devlin as he exits, giving the effect that he walks a large distance in a short period of meter and emphasizes his discomfort. The shot then lingers on Alicias expression of disappointment while keeping the door in the corner of the frame. In addition, When the men are alerted to Ms. Hubermans arrival, there is a close-up of the back of Devlins shoulders and head. Cary Grant quickly shifts his weight back and onward which conveys the nervousness that Devlin is feeling because he loves Alicia. However, for the sake of the mission, he mustiness undertake it. He also begins to turn around, solely has to collect himself once more before joining the conversation to defend Alicia.The ensuing exchange of discussion further divides Devlin from the others as they are portrayed in a entire three-shot, versus the close-up on Devlins upper body. This framing choice makes it clear that the sides of this sway are three against unmatched, and that Beardsley and Prescott have lost nigh trust in Devlin, because they can read that Devlin has feelings for Alicia. 3. How would you describe the mood or tone of the aim in visual terms? Alfred Hitchcock incorporates multiple instances of point of view edit and cross-cutting to explore mans intimate feeling of helplessness. He accomplishes this task by creating tense situations in which the spectator pump is more informed than the characters. However, the informants omniscient range of narration is stifled by some(prenominal) occurrences of perceptual subjectivity, creating a momentary feeling of helplessness within the viewer.The first-year takes place after Alicia (Ingrid Bergman) has consumed a large amount of alcohol and has discrete to drive a car with Devlin (Cary Grant).At first, the camera is stationary and the car is seen rapidly approaching and swerving from a distance. The next shot is from the punk rocker of the car and has both Alicia and Devlin within the frame. It is clear that Alicia is not fit to drive, but the stationary camera does not evoke an immediate response of fear. Hitchcock understands that the scene could be more terrifying and has Alicia bluntly ask Devlin if he is panic-struck.Furthermore, Hitchcock is having Alicia ask the viewer if he is scared and follows up the direct line with a point of view shot from Alicia. It is only during this shot from the view of a drunken driver, along with masking the camera with uncontrolled copper that the viewer feels truly out of control and terrified. Although this shot seems like it doesnt significantly contribute to the plot of the film, it is the first time that the viewer if allowed to equal through the eyes of a briny character and demonstrates Hitchcocks correspondence of perceptual subjectivity.Hitchcock also adds suspense to the film by using cross-cutting to leave the viewer eagerly helpless within the limitations of time. The major scene that uses cross-cutting to pack together time and position is during the large party that Sebastian hosts at his house. Before Devlin and Alicia hightail it into the drink cellar, a sense of urgency is immediately generated as Alicia explains to Devlin that they must complete their task before Sebastians server has to replenish the booze supply. This line of dialogue creates pressure and sets up the opportunity to use crosscutting to establish urgency. Hitchcock uses cross-cutting, or alternate shots of two or more lines of action occurring in different places simultaneously between Devlin and Alicias pursuit and the dwindling wine supply in order to make the viewer constantly advised of the overall situation.This is significant because only the viewer is al lowed to see how much time Devlin and Alicia have before they get caught. By alternating between these two shots, Hitchcock also minimalizes the space between the two events. The viewer assumes that once the wine is gone, then Devlin and Alicia will be caught. The viewer is not show the space between the wine cellar and the table upstairs, but rather the immediate surroundings of the separate characters. Hitchcock uses this technique to directly infuse suspense into the viewers perception of a situation. 4. Describe a few of the most visually stunning shots?Hitchcock also uses point of view editing to sterilize the relationships between characters. In the scene when Alicia wakes up after the midnight drive, there is a series of oblique shots of Devlin walking into the room. It is clear that this is the perceptual subjectivity of Alicia because one of the shots rotates to mimic her rotation in the bed. Oblique shots are typically utilize to show mental instability, which in this ca se, is caused by Alicias alcohol consumption. In these shots, Devlin is seen standing over the camera, which shows that he is protecting Alicia. Even though the two had met the previous night, this gesture allows Alicia to trust Devlin, and their relationship intensifies.Another stunning shot scene is when Sebastian searches his wine cellar. Since he was engaging in illicit activity, Sebastian could not trust Devlin after he sees Devlin kissing Alicia. He is suspicious that Devlin had stolen the key to steal a wine bottle. Though the cellar appears to be untouched, Sebastian is compelled to think back once more. A cut to a high rake shot of liquid in the sink is enough evidence to tell Sebastian that a bottle had been broken. For Sebastian, this shot reveals that Devlin is an American agent, and that Alicia is involved in his plot. At this moment, Sebastian learns that he cannot trust his wife, or Devlin. The hostility comes to a climax during the last scene when Devlin removes Al icia from Sebastians custody. Sebastians objection to this is enough let his associates know that he has jeopardized their cover.Alicia is poisoned is another example of perceptual subjectivity. She does not realize that Sebastian detect her true loyalties, so she does not anticipate that Sebastian would harm her. After alcohol addiction the coffee, there are quick zooms on Alex Sebastian and Madame Sebastian (Leopoldine Konstantin). These show Alicias actualisation of their intentions and that they can no longer be trusted. In addition, there are several shots when the frame gets warped and the other actors become silhouettes. These images are come with by a chaotic score, which has an equally nauseating effect on the viewer as it does for Alicia.These point of view shots are the culmination of Alicia and Sebastians betrayal of one another which are veryinteresting. 5. What are some of the things about the film that impressed you the most? In this move, each of the main charact er has difficulty in finding mutual trust with one another. Since each character has their own motive, they are only willing to splay themselves up enough to achieve their goals. None of them admit to their true feelings until Devlin rescues Alicia, which in the long run implies that their trust and love are reciprocated. The range of narration, which is mostly omniscient, helps bring out the progression of each character. Alfred Hitchcock really did a good job uses mise en scene to convey the level of trust in each characters relationships.

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