Can you imagine Alfred Hitchcock's Psycho shower scene without the screeching of violins? Well, that scene was supposed to be silent. Enter a stubborn US composer by the name of Bernard Herrmann. When Hitchcock went on holidays, he added the frenetic violins, which screech to echo the shrieks of actress Janet Leigh.
Such an ideal spectator, even when watching a film for the very first time, is acutely aware of all the different shots and scenes, which are otherwise a single-narrative cinematic projection.
This generates the conscious awareness of their relevance to each other within the whole composition of the film. Not only is such an ideal spectator able to consider these multiple film interpretations of different scenes and shots in a wider complex of the whole film, but also at the same, they are completely sincere in the self-projection of individual feelings that a viewing of a film generates.
Therefore, it is reasonable and very possible to make a thorough textual analysis of a film, assuming the existence of an ideal spectator.
With this initial proposition of the existence of an ideal spectator, it can also be inferred by means of assumption that an ideal spectator can also make a significant guide for a film studies student.
Since the history of film studies is still rather short, such a student is given relative interpretative freedom in the use of their intellectual faculties. Therefore, first of all, a film studies student is to set their sights on becoming an ideal spectator, and through this self-educational process they are to acquiesce themselves with the economic, cultural, and historical factors concerning film production in order to be able to eventually enjoy exploring the mechanism of the film and its textual interpretation in a more refined and imaginative way.
The reason for alluding to the process of education and exploration, although it may distract the reader from the main objective of this essay, is to stress and underline the two major sources of cinematic stimulus that arouses the intellectual interest in watching films.
And these interests are intrinsically defined as well as motivated by two kinds of film analysts: Film critics induce us to go and see new and interesting films. Film scholars inspire and encourage us to have another look at those films that we have already seen in order that we may be able to come to not only appreciate the textual richness but also the potent meanings that we may not have been able to grasp at the first viewing, and therefore enjoy the cinematic text in more depth and with much more refined intellectual and emotional richness.
Film critics urge us to movie theater; film scholars to self-project introspection. Films were originally considered as transient products. In the film business, a degree of freshness was the top priority. In other words, films were treated as a sort of weekly magazine.
Therefore, the ideal spectators are those groups of people who are eager to watch films straight after they are released. Consequently, these committed cinemagoers must have relished each occasion of viewing a new film and must have savored it with a real cinematic taste.
This essay, therefore, makes a thorough film analysis by means of assuming not only what the ideal spectators of the time thought about the film, but also how they could have reacted to the cinematic projection, its filmic narrative and texture.
Namely, how they received and enjoyed a film when it was screened for the very first time. Nevertheless, it is my belief that this kind of experimental analysis should become a significant step for our future film studies.
However, they have all in common the aspect of linearity. In a film, the editing matches temporal relations from shot to shot, from scene to scene; it is a crucial structure for maintaining a succinct narrative form.
The spectators have no choice but to follow the linear progression of the filmic narrative through the compilation of cinematic images. They cannot skip over some parts or go back to already viewed shots, unlike reading novels and comics.Dec 20, · Into the yawning gap opened by Norman Bates’s slashing knife, decades of carefully wrought filmmaking technique, and an American film industry that assiduously kept the wraps on horror.
Hitchcock - The Master of Suspense Alfred Joseph Hitchcock is the master of suspense. He was born on August 13 , Leytonstone, England.
He basically invented the thriller genre. Study Guide for North by Northwest. North by Northwest study guide contains a biography of director Alfred Hitchcock, literature essays, quiz questions, major themes, characters, and a full summary and analysis.
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Sir Alfred Joseph Hitchcock, KBE (13 August – 29 April ) was an English film director and producer, widely regarded as one of the most influential filmmakers in the history of tranceformingnlp.com as "the Master of Suspense", he directed over 50 feature films in a career spanning six decades, becoming as well known as any of his actors thanks to his many interviews, his cameo roles in most.
- to analyse Psycho as a horror film (AO2) - to explore the way the film was produced (AO4) - to deconstruct it as a text (AO1) Audience in Mind.
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