Author Archives: AJ Ramos

Murder! (1930)

This 1930’s classic movie of Hitchcock’s is analyzed for its strong sexual content, profanity, and sexism.  Even though this was still technically early in his career, Hitchcock was making profound statements about the ignorance of society.  This paper argues that Hitchcock made statements on topics so controversial that the audience at the time was not ready to handle them, and would have been better received in a society much like today.  The reason that there are so little sources on the film itself is due to the fact that nobody wanted to talk about sexism or sexuality in 1930.  On top of this, the market was crashing and nobody had the money to go out to appreciate the film.  The film contained the most famous motifs, such as shadows across faces, a cameo from the director himself, and a falsely accused victim.  The hero of the film is much like that of The 39 Steps in the sense that the protagonist is has to go on a quest to discover a covered up truth.  Hitchcock, the master of suspense, has already come into his his voice as a director and this film rings with meaning even today.

Christian Marclay and the Many Deaths of Hitchcock

Born in 1955, Christian Marclay is a pioneer in his field of art.  His style is all about chaos and overlapping anything from noises to images to videos and everything else.  His homage to Hitchcock was a rather interesting addition to his portfolio.

Known as the Death/ Hitchcock the video compilation shows 36 o Hitchcock’s movie killings side by side.

Personally, I think the comparison really shows how consistent Hitchcock is in his directing, while showing how different and creative he can be when designing these filmed deaths.



An Unpopular Opinion on Hitchcock’s Families

Now that we have Strangers on a Train, Spellbound, and Shadow of a Doubt under our belts, we can begin to see a common family appear in Hitchcock’s films.  Many would believe the most striking relationship is the one betwixt the Charlies in Shadow of a Doubt, but I am here to inform you that this is not the case.  The Charlies’ relationship is actually the most normal within this particular cluster.  Entertain this idea for a moment: When the film opens up, after we see uncle Charlie evade the detectives, we see young Charlie in a mirrored position, distraught in her bed.  When her parents find her, nobody seems to really listen to what is wrong with her.  Then, her parents show a distinct disregard for censoring what books their youngest daughter Anne reads, so she is prematurely stripped of her childish innocence.  On top of all of this,  Charlie’s father seems to have a closer connection to Herb than he does with his wife.  Uncle Charlie and young Charlie are the only two family members that seem deeply moved by each other.  Charlie’s mom gets upset at uncle Charlie leaving, but this dramatic moment is similar to a kid losing a toy, and will most likely be gone from her head the next day.  Uncle Charlie’s safe place is young Charlie, and after all, isn’t that the way family should be?