This paper is going to focus on Alfred Hitchcock’s film, The Lady Vanishes. This paper will cover influences in the film to the different design elements Hitchcock used. Hitchcock has produced dozens of films through his carrier; however The Lady Vanishes is uniquely different from his other films. The first texts cover the early days in Hitchcock’s cinematographical experimentation and his fondness to certain techniques. This early cinematography covers his experimentation with camera techniques and how they were influential in his later films. In addition, I will cover the plot devices that are used in the film and different phobias that Hitchcock used in the film along with their significance. The film The Lady Vanishes is rife with basic elements that Hitchcock translates into later films. The texts surmise how these elements influenced Hitchcock work.
The reminder of the texts encompasses both feminism influence in The Lady Vanishes and future Hitchcock films. The text also covers the McGuffins and the small mistakes that Hitchcock has in The Lady Vanishes. The intent of this is not to bash Hitchcock; it is merely showing that sometimes his experimentation with film techniques while cool and innovative can sometimes get away from him.
Robert Whitman’s Shower was an installation piece created in the year 1964. It was inspired by the famous Psycho directed by Hitchcock. Whitman’s piece depicted the famous shower murder of Marion Crane played by (Janet Leigh) in the end of act 1. Robert Whitman created an installation piece depicting the back of a woman taking a shower with her back turned to the audience, this is an allusion to Psycho. The work It saw led me to buy a shower curtain and mat that changes to look as if it is covered in blood as if you were stabbed and bled out when in contact with moisture.
Whitman began to create installations that linked objects with film images such as a woman showering. He was an artist that experimented ( like Hitchcock ) with the technology available. He eventually even created his one experimental art firm. Sadly, I couldn’t appreciate the whole piece since I can only get snippets of it, however, it makes one think.
the reasoning behind vertigo’s critical acclaim and importance to the world of cinema is not because its story or even the acting in the film. the reason for the films greatness is the cinematography techniques such as the taking shots the wide angle shot and the integration of the first real cgi with practical effects, making thus a film ahead of its time in technique and laed the groundwork for modern cinema.
in our reading of robin wood essay of strangers on a train wood points out the odd relationship between Bruno and his mother, this relationship has many oedipal traits . and throughout the rest of the right up we have it made clear that Bruno issues with every other female. though this is not woods intent it was made clear to me that this was a projection of Hitchcock own mother issues. i do not see the ” his professed admiration for guy is balanced by guys increasing if reluctant and in part ironical amused admiration for him”( Wood, Hitchcock reader,p.173) as anything more tan a MacGuffin or red haring, an exaggerated reaction to meeting an idol nothing more. the real issue being the relationship between Bruno and th women in his life . a similar them will be repeated in the film psycho .
In both The Lodger and Blackmail one visual motif that is used in both films is the shadows over the actors’ faces. This is done to denote the actor’s character or intent. In The Lodger we see the lodger looking out of a window causing a cross like effigy to be cast on his face. This motif is emulated in Blackmail as we see the artist has the stereotypical villainous mustache cast on his face shortly prior to his attempt on our protagonist’s life.