Wednesday, October 31, 2012

Alfred Hitchcock filmmaker

 

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He experimented with color once the film medium needed a lot more color - he stopped while using backlight for hair highlights in Vertigo, reasoning that color was enough differentiation; he used color for its psychological power to illuminate character (as Robin Wood discusses with reference to Marnie [1965: 153-184]); he used 3-D as a way of making a new sense of space in Dial M for Murder; and he showed the cinematic value and versatility from the a limited setting (Lifeboat) and the really lengthy eat (Rope). In short, Hitchcock showed other filmmakers how well the things of film could be shaped and manipulated to obtain the desired effect, to extend thematic interest, and to maintain the audience interested throughout.

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Margaret M. Horowitz states that a psychoanalytic interpretation in the Birds is most correct to explain the film on the latent level although the supernatural fact from the wild birds. Her belief is that Mitch and his mother act as a couple throughout the film, so that Melanie is an intrusion into their world, an intrusion that has to become punished. The three-way relationship is presented as Freudian in nature, and there\'s sufficient evidence that this interpretation does explain a lot for the relationships in the film.

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Horwitz also finds that during the structure of the film, the bird attacks turn out to be additional and more malevolent and a lot more and additional directed at Melanie, the outsider who in the starting on the film buys a pair of lovebirds that arrive to represent the danger to Lydia\'s mother-son world. Melanie survives the final assault, but her cool composure is ruffled. She has been made far more human, but so has Mitch\'s mother.

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The Birds uses the conventions in the horror film, with mankind menaced by a swarm of creatures, to tantalize using a sense of foreboding. The structure of the film, though, uses these conventions inside a humorous way (though clearly numerous viewers miss the humor in the situation). The human beings are more bird-like than the birds. The twist inside narrative comes as the human beings are encaged and also the birds are free. Within the end, the persons escape their cage, and the birds, not acting as humans would outside a bird cage, allow the men and women go.

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The mother seems askance at this blonde from the city, and Melanie knows it. Her conversation with the schoolteacher shows how the teacher also knows it and that she too has been aware of the degree to which Mitch is tied to his mother\'s apron strings. It is not until right after the bird attacks inside house, once Mitch\'s mother is attacked and Melanie takes control by chasing off the birds and saving the mother, that Melanie displaces the mother within the household structure and relegates the mother for the role of mother and no other. Horwitz writes: \"The wild birds function like a sort of malevolent female superego, an indirect revelation of Lydia\'s [the mother\'s] character. She is really a possessive mother, intent upon furthering a symbiotic, Oedipal relationship with her son\" (p. 281).

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