| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "HITCHCOCK REBECCA": |
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Hitchcock's Rebecca, 2002.
An examination of the character of Joan Fontaine in Alfred Hitchcock's film "Rebecca".
1,589 words (approx. 6.4 pages), 0 sources, AU$ 75.95
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Abstract
The writer of this paper focuses on the character of Joan Fontaine and her struggle to cope with being the wife of a widower. One of the major themes of the film is based around her struggle to be the second wife and to fight the fact that she is second best. The paper examines this struggle of control between Fontaine and Rebecca, the first wife; and how, even though Rebecca is dead, Fontaine still feels extremely threatened by her.
From the Paper
"Hitchcock?s Rebecca is the story of Joan Fontaine, a shy and naive woman who marries Maxim de Winter, a wealthy widow. They return to his home, Manderlay, after their marriage where Fontaine is haunted by the first wife, not ghostly haunted, but haunted by the reminders of Rebecca that are all through the house. Fontaine struggles to take the place of Rebecca yet always feels inferior to her. The housekeeper, Mrs. Danvers, actively tries to break up the marriage by reminding Fontaine of the perfect Rebecca. Fontaine becomes suspicious and slowly seeks out the facts surrounding the mystery of Rebecca?s death. In revealing the truth about Rebecca, Fontaine is finally able to be free of the expectations placed upon her, and becomes an individual as opposed to an inferior replacement wife. The film is the combination of a love story, a mystery and a personal journey of discovery for Fontaine."
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Alfred Hitchcock, 2004.
A look at the different forms of expressionistic thought exhibited in Alfred Hitchcock's films.
904 words (approx. 3.6 pages), 6 sources, MLA, AU$ 46.95
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Abstract
Using Alfred Hitchcock's films "Rebecca" and "Rope", this paper discusses how Hitchcock's style expresses national film movements like German Expressionism, Soviet Expressive Realism and British Social Realism.
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Rebecca and Mrs. de Winter, 2006.
This paper analyzes the conflicted relationship between Rebecca and Mrs. de Winter in Daphne Du Maurier's classic 1938 novel, "Rebecca."
1,352 words (approx. 5.4 pages), 1 source, MLA, AU$ 66.95
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Abstract
This paper discusses the plot of the novel which revolves around the second Mrs. de Winter who becomes obsessed with tales of Rebecca, the first Mrs. de Winter, who was mysteriously murdered. The writer contends and explains why Mrs. de Winter's longing to be like Rebecca leads to a journey of self-discovery which also helps her unearth the mysterious past of her husband Maxim and his first wife. The paper discusses the author's use of symbolism to foreshadow Mrs. de Winter's connection with Rebecca. This paper delves into the second wife's feelings of inadequacy when trying to measure up to the image of her husband's first wife. The writer of this paper details the immense power Rebecca has over Mrs. de Winter while also delving into the dysfunctional relationship between Mrs. de Winter and her husband.
From the Paper
"Rebecca is thus an elusive entity for the girl who longs to become more like her and thus develops her own images and version of her. She follows these images, copying them in her desire to be deserving of the title of Mrs. De winter. Her marriage with Maxim was not exactly successful because the girl was pre-occupied with her middle-class upbringing and wanted to somehow trade that for a more adult, grown-up attitude. She found herself inexperienced in sexual matters which left her often feeling empty and unfulfilled after her sexual encounters with Maxim. Mrs. De Winter blamed this on her middle-class ness, something that she had come to resent deeply. She felt that only a woman like Rebecca could have a fulfilling marriage and a satisfying sexual life with her husband since she was experienced in the art of winning and pleasing people."
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Alfred Hitchcock, 2004.
An analysis of the life and works of film director, Alfred Hitchcock.
1,202 words (approx. 4.8 pages), 6 sources, MLA, AU$ 60.95
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Abstract
This paper discusses the "king" of melodramatic films, Alfred Hitchcock. The paper contends that Hitchcock was (and remains) the originator and master of a kind of mystery thriller that no one has been able to duplicate. The paper presents a biography of Hitchcock's film career and a brief synopsis of several of his films. The paper explores Hitchcock's recurrent theme of an innocent protagonist being falsely accused for a crime.
From the Paper
"Hitchcock started in the movie industry, age 19, when he was hired to design titles at the Famous Players- Lasky London studios. He learned scripting, editing and art direction, and rose to become assistant director by 1922. That year, he directed his first (and unfinished) film, "No. 13, or Mrs. Peabody". It was three years later that he directed and completed his film "The Pleasure Garden", an Anglo-German production filmed in Munich. "This experience, plus a sting at Germany's UFA studios as an assistant director, help account for the Expressionistic character of his films, both in their visual schemes and thematic concerns.""
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Hitchcock and Lynch, 2001.
Comparing the impact that Alfred Hitchcock had on David Lynch's film, "Lost Highway".
1,926 words (approx. 7.7 pages), 4 sources, MLA, AU$ 89.95
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Abstract
This paper shows how "Lost Highway" can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in "Notorious" and "Strangers on a Train". Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity. It explains how "Lost Highway" contains Hitchcock's trademarks, such as the wrong man theme and doubles. It also shows Hitchcock's directorial influence on David Lynch and the use of symbols by both directors. The examples provided are backed up by film quotes, music references, and quotes from a notable book on Hitchcock, Donald Spoto's "The Art of Alfred Hitchcock".
From the Paper
"There are some directors that make great movies, and then, there are some directors who create amazing lasting cinema features. The latter do not only achieve fame in their lifetime, but are often immortalized by their own pieces as well as by the imitation of their styles and ideas. This imitation is, of course, not just a reproduction of what the original director did. The imitation, when done correctly, becomes another great piece of cinema unto itself; one such imitation is David Lynch's Lost Highway. Although Lost Highway can be seen as a cinematic mixture of the concepts used by Alfred Hitchcock in Notorious and Strangers on the Train, Lynch's original presentation of those concepts shows that Hitchcock's influence did not stifle his own creativity."
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Alfred Hitchcock: A Master of Duality, 2002.
An analysis of two Hitchcock films, "Vertigo" and "Psycho".
1,121 words (approx. 4.5 pages), 0 sources, AU$ 56.95
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Abstract
This paper discusses the films, "Vertigo" and "Psycho" by Alfred Hitchcock portraying Hitchcock's penchant for duality. The writer explains how Hitchcock makes clear that the essence of suspense is the permanent struggle between the obvious and what could be. The paper illustrates the duality evident in "Vertigo" - the struggle between life and death; and that in "Psycho" - the evaluation of openness and mystery.
From the Paper
"For many, the name Alfred Hitchcock conjures hazy and disconnected memories of Cary Grant and Ingrid Bergman in Rio, Tippi Hedren being chased by killer birds, or Jimmy Stewart in a wheelchair; but for others?those that are somewhat more experienced with the work of Hitchcock?the utterance of his moniker means much more. Indeed, many consider Hitchcock to be not only one of the most prolific and entertaining filmmakers, but also one of the most profound. A recurring?and certainly intriguing?motif that holds together his body of work is his incessant interest and portrayal of duality: the conflicting, yet in some ways similar, nature of life. That is to say, Hitchcock (and no other, on as prestigious a level) was able to brilliantly compare, reduce, and then reevaluate polar opposites that every human encounters. Love or hate, man or woman, privacy or voyeurism, and dishonesty or fidelity were just some of the many themes he unraveled in the stories and aesthetics of his films. Two such films?with particular interest as each illustrates by movement, mise-en-scen, and narrative strategy, Hitchcock?s penchant for duality?are Vertigo, in which he juxtaposes the archetypal struggle between life and death, and Psycho, where he dabbles in the much more complex evaluation of openness and mystery."
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Alfred Hitchcock's "Psycho", 2007.
A review of Alfred Hitchcock's famous film "Psycho."
1,100 words (approx. 4.4 pages), 5 sources, MLA, AU$ 56.95
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Abstract
This paper analyzes Alfred Hitchcock's masterpiece of suspense, the film "Psycho." The reviewer describes the innovations, taboos and transgressions that Hitchcock explored in this film. Additionally, the paper discusses the emotional states of fear and horror that the film inspired, and how Hitchcock enticed his audience by giving them just enough information to lure them into the world of the protagonist, Norman. The paper also discusses how Hitchcock promoted his film prior to its release. The reviewer concludes that in "Psycho," Alfred Hitchcock lured his audience into the forbidden, made them uncomfortable but at the same time made them enjoy the brief experience of unspoken transgressions as seen in the film.
From the Paper
" When Norman purposely gives Marion the key to room number 1 so he can watch her through a peephole in the office, Hitchcock is enticing the audience with another transgression, voyeurism. The audience is forced into this secret world, forced to participate in Norman's forbidden thrill as he watches her undress. Such scenes resulted in much criticism. For example, a letter to the New York Times claimed that Psycho was "deliberately calculated to stimulate the jaded appetites of the middle-aged and arouse the worst latent instincts of teen-agers," suggesting that the transgressions depicted might be contagious (Hendershot). "
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Alfred Hitchcock, 2006.
An analysis of 'The Man Who Knew Too Much' by Alfred Hitchcock.
1,125 words (approx. 4.5 pages), 2 sources, AU$ 64.95
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Abstract
This paper reviews Alfred Hitchcock's film 'The Man Who Knew Too Much'. According to the paper, it was first released in the United Kingdom in December of 1934. It was not released to American audiences until March of the following year. It was filmed at Lime Grove Studios in London England and filming began after Hitchcock completed his direction of Waltzes From Vienna in 1933. Producers, Michael Balcon and Ivor Montagu had the script prepared before Hitchcock agreed to take on the direction of the film. The paper further discusses how Hitchcock was said to have been given free reign over the direction of the film, although he was also given a small budget to complete the task. The cast for the film was recommended from varying sources. This included Peter Lorre, who was a German actor presented to Hitchcock through Sidney Bernstein.
From the Paper
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Alfred Hitchcock, 2005.
An analysis of the impact of Alfred Hitchcock's films on British documentary realism.
1,100 words (approx. 4.4 pages), 6 sources, MLA, AU$ 56.95
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Abstract
This paper examines how Alfred Hitchcock's films often showed the influence of national film movements such as German Expressionism, Soviet Expressive Realism and the British Realist Documentary. It looks at how "The Lodger" (1926), and "Sabotage" (1936) provide examples of these movements from the first three periods of Hitchcock's work. In these films, Hitchcock showed his powerful mastery of the forms, and often moved them to new and deeply disturbing and moving levels. It is through his combination of techniques and themes taken from these often complex and difficult film movements that Hitchcock establishes himself as one of the most creative and influential directors of our time.
From the Paper
"During the 1920s, German film gave rise to a type of cinema that mirrored many of the conventions and styles of the expressionism art movement of the same time. This German movement "sought to express - often critically - the very essence of post-war life, its moods and concerns" (Mogg). The techniques that were used within the expressionism art movement often came from melodrama and the works of author Charles Dickens, such as Great Expectations, Oliver Twist, and A Christmas Carol. The techniques of the expressionism movement included an emphasis on irrational behavior that were often expressed through the actions of mobs and crowds (Mogg)."
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Character Perspectives in Hitchcock Films, 2006.
This paper illustrates Alfred Hitchcock's techniques of allowing the audience to be part of his films.
1,125 words (approx. 4.5 pages), 2 sources, AU$ 64.95
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Abstract
The paper discusses how in the films "Psycho," "North By Northwest," and "Rear Window," Alfred Hitchcock uses the action of the camera to invite the audience to take part in the voyeuristic activities of the characters. In "Psycho" and in "Rear Window" Hitchcock invites the audience into very specific moments in which the main characters observe others in the films without their knowledge. The paper depicts how these voyeuristic moments were a trademark of Hitchcock films that provided a moment in time for the audience to be part of the film and view action that called the audience in as second party voyeurs lead by Hitchcock himself.
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Hitchcock and "Psycho", 2006.
An examination of the movie "Psycho" directed and produced by Alfred Hitchcock.
1,764 words (approx. 7.1 pages), 6 sources, MLA, AU$ 82.95
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Abstract
In this review of Alfred Hitchcock's movie "Psycho", the author looks at elements of the movie that made it so successful. The author points out that "Psycho" was not one of Hitchcock's regular movies. The author tells us how Hitchcock was a very careful craftsman. There was absolutely not a single "ad lib" type scene shot in the movie. Hitchcock was a creative innovator, not merely a director of a number of takes of scenes. The author talks about the two key scenes in the movie, the infamous shower scene, and then the revelation of Norman Bates' "mother." The author concludes with his own personal opinion of the movie and states that no-one will know in advance if a movie will be a classic or not. That is left up to the viewers to decide.
From the Paper
"The audience is so captivated by the shower scene sequence- and there are many people who see the film over and opver again-= that it is hard to realize tghat the entire scene takes a few short minutes. It seems longer, because Hitcock's careful editing draws out the suspense andn then magnifies the horror without really showing it to us in full. Whereas so many more recent films delight in bloody corpses and dismembered bodies and blood running into gutters, Psycho is horror through careful editing not through actual camera intrusion that shows everything. We don't need to see everything, because we know- from the minute we can see Norman at the peephole, that disaster is going to strike, and we wait- and then it happens! And not seeing everything all at once makes it so much more horrifying with that screaming of the violins as counterpoint to the blood dripping into the shower floor."
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Expressionism in Hitchcock's Films, 2002.
Uses Alfred Hitchcock's film, "Shadow of a Doubt" to show his use of German Expressionism to explore the darker side of the human mind.
775 words (approx. 3.1 pages), 3 sources, AU$ 45.95
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Abstract
Hitchcock employs many of the thematic and cinematic elements of earlier film genres; in particular that of German Expressionism. This essay will argue that Hitchcock uses the Expressionist device of the doppelganger or double to delve into the darker areas of the human mind. The brilliance of Hitchcock's employment of this in "Shadow of a Doubt", it will be argued, lies in Hitchcock's realization that the monstrous is intimately linked and may in fact be produced by, normality.
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Hitchcock and Techniques, 2008.
This paper looks at movie maker Alfred Hitchcock's techniques and achievements.
2,609 words (approx. 10.4 pages), 8 sources, MLA, AU$ 114.95
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Abstract
In this article, the writer notes that Alfred Hitchcock is one of America's most revered directors and creative talents. He left behind him some of the most memorable movie thrillers in history and defined an entire genre of artistic direction. The writer points out that since he started work in films in 1919, Hitchcock directed more than fifty feature length films in a career that lasted almost six decades. From the silent movie genre to the color era, he was always one of the foremost creative talents and directors the world had ever seen. In this analysis, the writer looks into Hitchcock's life and his major influences. Further, the writer looks at the techniques that Hitchcock helped to pioneer into one of Hollywood's most established genres, thrillers and suspense.
From the Paper
" Hitchcock explains that his early childhood and exposure to cinema were his greatest influences. As a child, his overbearing mother would constantly make him wait on her, and this became his inspiration for exploring the relationship between family members and dysfunctional families as evidenced in Psycho. Furthermore, much of his work was influenced by the expressionist techniques that he witnessed firsthand in Germany while making his first film. German expressionism would blend with much of Hitchcock's work to become part of the signature experience of Hitchcocian cinema. German filmmakers, because of the lack of funds in the post-world war I era, could not compete with large productions from the United States. Therefore, they developed a style of using symbolism and "mise en scene" to add mood and deeper meaning to their movie. Hitchcock was inspired by this technique and style to incorporate deeper meaning and shades of meaning within his movies. This can be evidenced by long drawn out scenes that focus on objects, such as staircases rather than specific dialogue or action. "
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Alfred Hitchcock, 2006.
This in-depth paper analyzes the film techniques of one of America's greatest filmmakers and directors, Alfred Hitchcock.
3,058 words (approx. 12.2 pages), 6 sources, MLA, AU$ 130.95
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Abstract
This paper details Hitchcock's unique talent for drawing the audience into his characters' thoughts, actions and emotions. This paper focuses primarily on three of the director's films, "Rear Window," "Notorious" and "Vertigo." The writer of this paper delves into Hitchcock's use of the subjective approach which when done correctly lets the viewing audience see into the minds of the characters on the screen. The writer contends and explains how Hitchcock's subjective storytelling and proper camera angles allow the viewer to see the point of view of the characters. This paper analyzes the director's use of subjective cinema which presents an idea in the mind of the character without the need for dialogue while at the same time using a point-of-view shot camera sequence resulting in a build-up of suspense. This paper contends that Hitchcock's use of the subjective approach is a powerful method of filmmaking, even more so than the actual acting. This paper details how the subjective approach along with specific camera angles in "Vertigo" allow the viewers to identify with the protagonist Scottie while the cinematography gives the audience a true sense of the dizziness and fear of falling felt by the character.
From the Paper
"The poison scene with its sequences of Alicia knowing what is happening is another example of the subjective techniques used by Hitchcock. As noted above, the audience has information that even the protagonist does not have. At the start of the scene, the audience knows that Alicia is being poisoned by Sebastian and his mother, because they know she is working for the Americans. The scene also shows the different type of actual camera shots: The establishing shot opens the sequence, frequently an exterior and sets the scene. The long shot (LS), which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings and extreme long shot where the camera is at its furthest distance from the subject, emphasizing the background."
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Alfred Hitchcock's "Lifeboat": A Thesis On Unity and the Unknown, 2002.
A review of the theme of history on Alfred Hitchcock's movie "Lifeboat".
1,275 words (approx. 5.1 pages), 3 sources, AU$ 71.95
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Abstract
This paper looks at Hitchcock's movie "Lifeboat" and looks at the element of history that plays in the relationship of characters in the story, the motives in Hitchcock's auteuristic thought that develop the story, the techniques used to film the movie, and the overall scheme of ideals, as well as the fear of death and silence that pervade the Hitchcock element that signify the style of his stories.
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Alfred Hitchcock, 2002.
Analysis of the style, technique, and trademarks of Alfred Hitchcock's film making.
1,900 words (approx. 7.6 pages), 5 sources, AU$ 103.95
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Abstract
This paper discusses the elements of film style used by Alfred Hitchcock in his legendary films, particularly in "Strangers on a Train". The analysis notes the outstanding instances of Hitchcock's film technique, including his trademarks, considers the historical time in which the films were made, and evaluates the manner in which Hitchcock created the best suspense films in cinematic history.
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