Vanity Fair (Mar/2008) - The 2008 Hollywood Portfolio: Hitchcock Classics
Friday
Strangers on train- Vanity Fair
Back in 2008 vanity Fair published a series of photographs based on hitchcock films these are the types of images i need to produce and work toward the quality of.
Vanity Fair (Mar/2008) - The 2008 Hollywood Portfolio: Hitchcock Classics
Vanity Fair (Mar/2008) - The 2008 Hollywood Portfolio: Hitchcock Classics
strangers on train-ideas
Hitchcock ideas
location shoots
"bruno" at the top of the stairs, watching over "guy" and the police officer. devonport guildhall. ed@reo
"guy" in the music shop having a heated debate with his wife.
portraits in busy fair grounds.
"bruno" standing in the dark waiting to guy to come home.
"guy" playing tennis
"guy" running from the police.
"bruno" asleep "guy" looking over him thinking its "bruno's" dad.
"guy" at the bottom of the stairs in "bruno's" house bruno looking down over him.
studio
"bruno" pointing the gun at "guy" lamp behind wooden walls
"guy" looking at he gun, shot from above. props:
gun, lamp, type writer, books maybe a phone.
one of the scenes form the house with anne morton sitting on the sofa drinking coffee.
tennis and lamps !!!! Hitchcock loves lamp and tennis
location shoots
"bruno" at the top of the stairs, watching over "guy" and the police officer. devonport guildhall. ed@reo
"guy" in the music shop having a heated debate with his wife.
portraits in busy fair grounds.
"bruno" standing in the dark waiting to guy to come home.
"guy" playing tennis
"guy" running from the police.
"bruno" asleep "guy" looking over him thinking its "bruno's" dad.
"guy" at the bottom of the stairs in "bruno's" house bruno looking down over him.
studio
"bruno" pointing the gun at "guy" lamp behind wooden walls
"guy" looking at he gun, shot from above. props:
gun, lamp, type writer, books maybe a phone.
one of the scenes form the house with anne morton sitting on the sofa drinking coffee.
tennis and lamps !!!! Hitchcock loves lamp and tennis
I've chosen to do
after some deliberation I have chosen to use strangers on a train as my film for this project, mainly as iI had more ideas about locations and idea photograph at while watching it. I do not believe the film to be better than "Dial M" but when your coming up with an idea for a project its better to go with what gives you the most ideas not what film for prefer.
dial M for Murder
Tony Wendice (Milland) is an ex-professional tennis player who lives in a London flat with his wealthy wife, Margot (Kelly). Tony retired after Margot complained about his busy schedule, and she began an affair, which he secretly discovered, with American crime-fiction writer Mark Halliday (Cummings). Motivated by resentment, jealousy, and greed, Tony has devised a plan to have Margot murdered.
* Ray Milland as Tony Wendice, a retired professional tennis player
* Grace Kelly as Margot Mary Wendice, Tony's wife
* Robert Cummings as Mark Halliday, a writer of television crime fiction, Margot's paramour
* John Williams as Chief Inspector Hubbard
* Anthony Dawson as Charles Alexander Swann, a.k.a. Captain Lesgate, Tony's shady acquaintance
* Leo Britt as The Storyteller
* Patrick Allen as Detective Pearson
* George Leigh as Detective Williams
* George Alderson as First Detective
* Robin Hughes as Police Sergeant
Thoughts:
I really enjoyed this film. The suspence kept me wanting to keep watching but then this is what hitchcock was best at
Thursday
strangers on a train
Amateur tennis star Guy Haines (Farley Granger) wants to divorce his wife Miriam (Laura Elliott), so he can marry the woman he loves.
While on a train to meet Miriam, Haines meets Bruno Anthony (Robert Walker), a forward stranger who recognizes Guy from gossip items in the newspapers and knows about his marital problems. During lunch in Bruno's compartment, Bruno tells Guy about his idea for the perfect murder(s): he will kill Miriam and in exchange, Guy will kill Bruno's father.
Bruno heads to Guy's hometown of Metcalf and follows Miriam and two boys to an amusement park, where he briefly illuminates her face with Guy's lighter, then strangles her to death.
Farley Granger as Guy Haines
Ruth Roman as Anne Morton
Robert Walker as Bruno Anthony
Leo G. Carroll as Senator Morton
Patricia Hitchcock as Barbara Morton
Laura Elliott as Miriam Joyce Haines
Marion Lorne as Mrs. Anthony
Jonathan Hale as Mr. Anthony
Norma Varden as Mrs. Cunningham
John Brown as Professor Collins
Robert Gist as Detective Hennessey
Georges Renavent as Monsieur Darville (uncredited)
hitchcocks camio
Friday
work required
Work Required
Both images will be taken on 5 x 4 negative (or transparency) or high end digital and handed in as a single image printed on A2 paper with supporting documentation in the form of test shoots, research material etc. Ideally one shot using each technology.
Production work
• Experimental work (this work could be presented within the visual journal or as working prints in a manner of your choosing)
• Final images, presented to exhibition standard and also supplied on CDR as high resolution TIFF’s - please ensure that your CDR is clearly labelled.
• You must also consider professional usage issues such as model release, clearance for use etc.
Both images will be taken on 5 x 4 negative (or transparency) or high end digital and handed in as a single image printed on A2 paper with supporting documentation in the form of test shoots, research material etc. Ideally one shot using each technology.
Production work
• Experimental work (this work could be presented within the visual journal or as working prints in a manner of your choosing)
• Final images, presented to exhibition standard and also supplied on CDR as high resolution TIFF’s - please ensure that your CDR is clearly labelled.
• You must also consider professional usage issues such as model release, clearance for use etc.
project brief
TASK 1
During induction week you will form into small groups (3 or 4 in a group). Each group will negotiate to decide which feature film will establish the starting point for the assignment.
In your groups you will further research the film + director and carefully consider the stylistic and conceptual themes, with the intention of producing two constructed images: one on location (while the weather is good) and a constructed set in the studio (out of the wind).
Part of the assignment is to use the varied built and natural environment of the region in which to set your imagery. You need to consider lighting carefully as this is a key element of the assessment.
The challenge will be to take the styling and props on location and create a an expansive set in an appropriate environment. You will be expected to have found a suitable site during, or preferably before the 1st week. This was the intention of your summer task.
You can at this stage opt to work alone, but working in groups will ensure you have assistant support when you need it.
The photograph will be taken on large-format film or high end digital and handed in as a single image with supporting documentation in the form of test shoots, research material etc.
Your Visual Journal/Research Book will contain:
a) Critical analysis of your chosen film and director
b) Practical experimentation into a range of materials. Process notes,
digital imaging practice, lighting diagrams and any other technical
processes you may employ
c) Your original concept and subsequent developments and/or
changes d) Ongoing evaluation of the process and outcome e) Evidence of project management including individual
responsibilities within teamwork
f) Evidence of professional practice
TASK 2
Between induction week and reading week you will begin to plan a photographic set that will become your studio for making another photographic response to the feature film. This response might take the scene from the film as a starting point, or it could focus on an individual character for instance. You are expected to work as a cohesive unit to create the space, and to source props and models where necessary.
You will have access to the studio after reading week and you will be allotted a time and space to build you set. The staging of the photograph is a collaborative event, but each person must make their individual contribution which means the feel, content or narrative changes from image to image. So when exhibited the images will have an outwards similarity but close inspection will reveal the differences. Just as a film scene in a room changes as time progresses.
It is anticipated that a certain amount of digital post-production will be required but this is not a montage project and you are advised to get as much right at the capture stage as possible.
The set that you have built must be dismantled fully before the end of your alotted week. The set has to be fully cleared and any debris will result in 10% being deducted from everyone in the group.
During induction week you will form into small groups (3 or 4 in a group). Each group will negotiate to decide which feature film will establish the starting point for the assignment.
In your groups you will further research the film + director and carefully consider the stylistic and conceptual themes, with the intention of producing two constructed images: one on location (while the weather is good) and a constructed set in the studio (out of the wind).
Part of the assignment is to use the varied built and natural environment of the region in which to set your imagery. You need to consider lighting carefully as this is a key element of the assessment.
The challenge will be to take the styling and props on location and create a an expansive set in an appropriate environment. You will be expected to have found a suitable site during, or preferably before the 1st week. This was the intention of your summer task.
You can at this stage opt to work alone, but working in groups will ensure you have assistant support when you need it.
The photograph will be taken on large-format film or high end digital and handed in as a single image with supporting documentation in the form of test shoots, research material etc.
Your Visual Journal/Research Book will contain:
a) Critical analysis of your chosen film and director
b) Practical experimentation into a range of materials. Process notes,
digital imaging practice, lighting diagrams and any other technical
processes you may employ
c) Your original concept and subsequent developments and/or
changes d) Ongoing evaluation of the process and outcome e) Evidence of project management including individual
responsibilities within teamwork
f) Evidence of professional practice
TASK 2
Between induction week and reading week you will begin to plan a photographic set that will become your studio for making another photographic response to the feature film. This response might take the scene from the film as a starting point, or it could focus on an individual character for instance. You are expected to work as a cohesive unit to create the space, and to source props and models where necessary.
You will have access to the studio after reading week and you will be allotted a time and space to build you set. The staging of the photograph is a collaborative event, but each person must make their individual contribution which means the feel, content or narrative changes from image to image. So when exhibited the images will have an outwards similarity but close inspection will reveal the differences. Just as a film scene in a room changes as time progresses.
It is anticipated that a certain amount of digital post-production will be required but this is not a montage project and you are advised to get as much right at the capture stage as possible.
The set that you have built must be dismantled fully before the end of your alotted week. The set has to be fully cleared and any debris will result in 10% being deducted from everyone in the group.
Alfred Hitchcock
who was he? what did he do? when did he do it?
http://en.wikipedia.org/wiki/Alfred_Hitchcock
Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)[1] was an English filmmaker and producer.[2] He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his native United Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 he became an American citizen while remaining a British subject.
Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style.[3] Viewers are made to identify with the camera which moves in a way meant to mimic a person's gaze, forcing viewers to engage in a form of voyeurism.[4] He framed shots to manipulate the feelings of the audience and maximise anxiety, fear, or empathy, and used innovative film editing to demonstrate the point of view of the characters.[4] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters.[5] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon.
Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."[6][7] MovieMaker has hailed him as the most influential filmmaker of all time,[8] and he is widely regarded as one of cinema's most significant artists.
References
^ "Alfred Hitchcock". Ken Mogg. Senses of Cinema. Sensesofcinema.com. Accessed 18 July 2010.
^ Obituary Variety, 7 May 1980.
^ a b "Alfred Hitchcock's America". David Lehman. American Heritage. April/May 2007. Accessed 21 July 2010.
^ a b "Film Techniques of Alfred Hitchcock". Jeff Bays. Borgus Productions. Borgus.com. December 2007. Accessed 13 July 2010.
^ "NOTORIOUS! (Hitchcock and his icy blondes)". Paul Whitington. Irish Independent. Independent.ie. 18 July 2009. Accessed 13 July 2010.
^ Avedon, Richard (14 April 2007). "The top 21 British directors of all time". London: The Daily Telegraph. Retrieved 8 July 2009. "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."
^ "British Directors". RSS Film studies. Retrieved 11 June 2008.
^ "The 25 Most Influential Directors of All Time". MovieMaker. Moviemaker.com. 6 July 2002. Accessed 27 March 2010.
http://en.wikipedia.org/wiki/Alfred_Hitchcock
Sir Alfred Joseph Hitchcock, KBE (13 August 1899 – 29 April 1980)[1] was an English filmmaker and producer.[2] He pioneered many techniques in the suspense and psychological thriller genres. After a successful career in his native United Kingdom in both silent films and early talkies, Hitchcock moved to Hollywood. In 1956 he became an American citizen while remaining a British subject.
Over a career spanning more than half a century, Hitchcock fashioned for himself a distinctive and recognisable directorial style.[3] Viewers are made to identify with the camera which moves in a way meant to mimic a person's gaze, forcing viewers to engage in a form of voyeurism.[4] He framed shots to manipulate the feelings of the audience and maximise anxiety, fear, or empathy, and used innovative film editing to demonstrate the point of view of the characters.[4] His stories frequently feature fugitives on the run from the law alongside "icy blonde" female characters.[5] Many of Hitchcock's films have twist endings and thrilling plots featuring depictions of violence, murder, and crime, although many of the mysteries function as decoys or "MacGuffins" meant only to serve thematic elements in the film and the extremely complex psychological examinations of the characters. Hitchcock's films also borrow many themes from psychoanalysis and feature strong sexual undertones. Through his cameo appearances in his own films, interviews, film trailers, and the television program Alfred Hitchcock Presents, he became a cultural icon.
Hitchcock directed more than fifty feature films in a career spanning six decades. Often regarded as the greatest British filmmaker, he came first in a 2007 poll of film critics in Britain's Daily Telegraph, which said: "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."[6][7] MovieMaker has hailed him as the most influential filmmaker of all time,[8] and he is widely regarded as one of cinema's most significant artists.
References
^ "Alfred Hitchcock". Ken Mogg. Senses of Cinema. Sensesofcinema.com. Accessed 18 July 2010.
^ Obituary Variety, 7 May 1980.
^ a b "Alfred Hitchcock's America". David Lehman. American Heritage. April/May 2007. Accessed 21 July 2010.
^ a b "Film Techniques of Alfred Hitchcock". Jeff Bays. Borgus Productions. Borgus.com. December 2007. Accessed 13 July 2010.
^ "NOTORIOUS! (Hitchcock and his icy blondes)". Paul Whitington. Irish Independent. Independent.ie. 18 July 2009. Accessed 13 July 2010.
^ Avedon, Richard (14 April 2007). "The top 21 British directors of all time". London: The Daily Telegraph. Retrieved 8 July 2009. "Unquestionably the greatest filmmaker to emerge from these islands, Hitchcock did more than any director to shape modern cinema, which would be utterly different without him. His flair was for narrative, cruelly withholding crucial information (from his characters and from us) and engaging the emotions of the audience like no one else."
^ "British Directors". RSS Film studies. Retrieved 11 June 2008.
^ "The 25 Most Influential Directors of All Time". MovieMaker. Moviemaker.com. 6 July 2002. Accessed 27 March 2010.
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