North By Northwest And Vertigo Analysis

Based on the research, the researcher would like to conclude the element of film noir in four aspects which were narratives, cinematography, character and theme. These elements can describe how the film noir is formed. The conclusion was made after the researcher chose four films from two well-known directors which were David Fincher and Martin Scorsese. Based on the findings from chapter 4, the researcher found the noir elements in their films. The directors applied different noir element in their films because David Fincher and Martin Scorsese both has their own signatures and style in visual storytelling. Those signatures and styles gave them an auteur theory. After the researcher done the comparison between David Fincher and Martin Scorsese,

In 2012, Vertigo replaced “Citizen Kane” as best movie ever made in the Sight and Sound poll. Film producer Marco Müller describes the genius of Vertigo by saying “Paranoia and obsession have never looked better”. The technical aspects mirror the narrative, and the experience of the audience mirrors the experience of the main character. Scotty Ferguson faces a fear of heights, which causes him to have vertigo. Hitchcock weaves this theme of disorientation through the movie by supporting it with narrative, production design, and skilled camera techniques.

Stanley Kubrick’s 2001: A Space Odyssey and Alfred Hitchcock’s Psycho share a variety of suspense-building cinematic techniques. These directors, both of whom are highly aware of the audience experience, pay close attention to sound, pacing, point of view, and transitions in order to convey a thrilling sense of uncertainty. Additionally, the suspense created in both films can be described using categories of suspense discussed in class, as well as those laid out by Susan Smith in Hitchcock: Suspense, Humour, and Tone. While Kubrick’s suspenseful techniques in 2001 can be categorized as more contemplative and atmospheric than those characteristic of Hitchcock, both understand the importance of exercising a rigorous level of control over the information revealed—or not revealed—to their audiences. Each of these two works exhibits a masterful control of suspense, but largely due to his celebrity and filmmaking reputation, Hitchcock relies more than Kubrick on these techniques. Taken as loosely representative of Kubrick and Hitchcock’s respective bodies of work, 2001 and Psycho illustrate the differing consumer, studio, and artistic expectations placed on each director—and more importantly, the opportunities and limitations that these expectations created for the two filmmakers.

Alfred Hitchcock’s 1940 movie Foreign Correspondent is a spy thriller with several unexpected twists and turns. Despite these exciting curveballs, the story follows a somewhat similar structure to that described in Robert McKee’s Story: Substance, Structure, Style and the Principles of Screenwriting. As McKee asserts, “A story is a design in five parts: The Inciting Incident, the first major part of the telling, is the primary cause for all that follows, putting into motion the other four elements- Progressive Complications, Crisis, Climax, Resolution.” Hitchcock employs all five of these story elements in Foreign Correspondent, and their use contributes to making it a complete and exciting film.

A satisfactory film shows us characters and shows us their lives and analyze their actions and the environment. A tremendous film transports us into it's the character’s psyche and teleports us into their mind and show us the true humanity in their characters. A adequate director creates sympathy for characters, you should like. A talented director can forge and create the feeling of liking a broken if not even evil character. This act of creating these broken, but sympathetic and likable characters is something Hitchcock started. The beginning of this idea of making these broken people not a powerful and in control character your lead. Hitchcock is renowned for a multitude of new innovations of film from making the wrong man theme

Two other directors who liked to work through different genres were England’s John Boorman and Canada’s John Paizs. Boorman was the kind of director who was inspired by many things around him and never liked to stick to one idea which would sometimes mean that “his vision [could] lose credibility, for example, when the fantastical elements overwhelm the realistic. His audience can be disappointed when his personal themes outweigh what they expect from a generic film” (McGrath, pg. 1). Boorman sometimes blurred the line between fantasy and reality, he would get so eager to use every element that he could in his films that the thought of what audiences looked for in a film became lost to him. On the opposite side, John Paizs would create various films in the different genres but he would stay true to the basic rules of genre and deliver to the audience, “weaving scenes of subtle demystification into a narrative fabric of fascination, nostalgia, and cinephilia” (Cagle, pg.

Bred in England and nourished by America Sir Alfred Joseph Hitchcock had a flair born of two different environments. In America he placed himself in the midst of cultural formation by becoming a detached observer, critic and an analyst. Hitchcock’s firmly entrenched persona as a popular entertainer and master of suspense was methodologically cultivated and exploited during the fifties. He was able to engender an audience of his own, have had the courage and also the opportunity to depart from the status quo and carry out experiments and hence remain singular in Hollywood.

　　Hitchcock changed the way movies are made by pushing the boundaries of what could be done. Insisting on the finest photography, set design, costuming, he carefully pre-planed every scene and tested what camera can do, from reflecting a murder in a woman’s glasses to creating a bird’s eye view of vicious

A movie without some humorous scenes can be unattractive to many eyes. Hitchcock films, irrespective of the early times that they were produced, remain some of the most creative and humorous movies that ever existed. The originality in the Hitchcock and Humor film makes the movie more real than a fictitious narration (Naremore 15). Hitchcock creates more suspense within his setting that not only creates the urge to watch more but also makes the whole story interesting. At some point, romance feature in Hitchcock films but in a comical manner, which drives the audience emotional. Moreover, Hitchcock’s works are notable irrespective of the time of production and the quality of the images but for the content and humor that comes along with them.

When it comes to filmmaking, auteur theory refers to the idea that the creative influence for a movie is the responsibility of the director. Shining a little light on the important roles in the filmmaking process such as editing, cinematography, and acting just to name a few, the auteur theory makes the director responsible for the outcome of a film. Tarantino work pays homage to his many influences. His films are recognizable for his style and film structure, which often can be viewed as over the top.

Brian De Palma, Sam Raimi, George A. Romero, Dario Argento, William Friedkin, David Cronenberg, Quentin Tarantino, and Steven Spielberg all have two attributes in common; the tactful use of suspense and Alfred Hitchcock. Each person in the list above has, at one point, named Alfred Hitchcock as an influence for their works (IMDb). Hitchcock has been known as, “the master of suspense,” throughout his career and it shows, not only in the movies that he directed personally, but in the movies of the other directors and producers who aspire to compare to him. Hitchcock’s auteur, or reoccurring themes within movies that can be traced back to a director’s life and personality to identify parts of him within his own movies include themes

The Auteur Theory is a concept that is viewed as a major creative force in motion picture. It has allowed the directors to oversee all the audio and visual elements they used in their motion picture. Francois Truffaut and Alfred Hitchcock are two well-known directors that use the Auteur Theory in their own unique way that makes each of their films very special. It can be seen the way Francois Truffaut wants us to be part of the film and experience what the characters are feeling and doing in 400 Blows. Though Alfred Hitchcock is seen as getting to the point and fast moving in Psycho.

In this essay there will be attempted to establish Stanley Kubrick as one of the world’s best directors by using the auteur theory witch elevates a director as not just a member of the film crew but as the artist bringing his personal style and personality to a film. Kubrick’s work will be analysed in accordance with the auteur theory in other to establish that he is one of the best directors in the industry. The auteur theory makes it possible for a film to be more than a collaborative industrial project but makes it possible for a film to be identified by its director who is seen by the auteur theory as its ultimate creator (turner 2009:53).

In his essay, ‘Notes on The Auteur Theory in 1962,’ Andrew Sarris, one of the key proponents of Auteur theory corroborates the above position

Film innovator and auteur Alfred Hitchcock is renowned for his genius in building tension, fear and suspense throughout his films. Hitchcock used visual cinema techniques including cinematography, symbolism and colour in films such as Rope and Vertigo to invoke a response from his audience. Hitchcock wanted us to identify with the psychological and physical situations that his protagonists and antagonists experience.