Film stills from all 53 Hitchcock strips show how precise and detailed the old master was. But they also reveal serial elements and techniques; typical elements in Hitchcock’s films. So, over and over again, individual figures observe other people or places. Sometimes it is with the camera, sometimes with the binoculars, as in the film “The window to the courtyard”. Hitchcock also often shows tied actors, as in “Number Seventeen” or “The Wrong Man”. Four detailed chapters illuminate almost scientifically why the Oscar-winning producer repeated a lot and also underlined this in his own essays.
“Instead of analyzing his own work himself, he clearly preferred to arouse his readers with references to the sexual undertones of his films, such as the recurring fetish of handcuffs and the delicate sexual pleasures behind the cool exteriors of his blonde female characters”, it says in the foreword. As you watch the watch free movies online you will find the best movies by this master of suspense. The options are now open.
The camera perspective supports the effect
Also typical for Hitchcock: Central scenes take place in high places. Time and again, people in the film are very afraid of falling. The three protagonists of the film “Young and Innocent” crash into a mine shaft with their car. The two men jump onto the edge and try to hold on to the blonde woman – high tension that fascinated the audience.
Therefore, Hitchcock staged dizzying situations in a number of box office hits – sometimes on the roof of the British Museum in “Blackmail”, sometimes “Above the Roofs of Nice”. Also from a camera perspective – as the photos and texts in the volume show – Hitchcock tended to use tried and tested methods.
He must have been a very scared person. Abysses were his dramatic crescendos. The falls were usually shot from a high angle, with the camera often aimed at the hands of a person who clings to others for survival, falls into a vortex of abyss or threatens to fall.
Hitchcock is a master at expressing emotions
This, too, shaped the style of many later films. Colored original film posters complement the volume and loosen up the countless, predominantly black and white series of still images from films a little.
Films develop the atmosphere of the plot much better through the moving image, the dialogues, noises and the film music. But still images have one advantage over film: the viewer can look at them in peace, even study. He sees even more clearly how, for example, an actress creates exactly the emotion that the director demanded of her, not just by screaming, but above all by using her facial expressions. Because the feeling, longing and fear to be conveyed figuratively in such a way that the audience sees itself reflected in the actors, was the masterpiece of the “Master of Supense”. More than 680 pages invite film fans to shudder and be amazed.
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