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how does hitchcock create suspense and shock?

Anonymous — Fri, 01 Aug 2008 15:41:52 GMT

HELLO! CAN YOU PLEASE CHECK MY ESSAY ACCORDING TO SEA PARAGRAPHS (sTATEMENT, eVIDENCE, aNALYSE)?

âHow does Hitchcock create Suspense and shock?â

Alfred Hitchcock is known as the âmaster of suspenseâ and a great innovator. He has three films in the Top Ten of the American Film Instituteâs top thrilling films. âPsychoâ, made in the year 1960, was number one. Hitchcock always uses suspense and tension to shock his audience. He does this by using cinematography very well by the way he uses the camera position, angles, movement and shots. He also uses scary music and lighting when he wants to shock his audience or create suspense.

Hitchcock misleads his audience to create shock in âPsychoâ. At the beginning of the film, we see Marion Crane and Sam Loomis in the bedroom together. By seeing this, we think this is a love and romance story. After Marion steals the money from her boss, we then believe the genre of the film is about crime. However, the genre of this film is not about romance or even crime. In fact, this movie is a thriller and the main character, Marion, dies a third way through the film. This is unexpected because she is the main character of the film and not a bad person. Another shock is when we discover that Norman Bates dresses like his âmotherâ in womenâs clothing, which the audience finds strange and weird.

False suspense makes shocks more shocking because we never know what will happen. Hitchcock creates false suspense in a number of ways. When Marion has been sleeping in the side of the road in her car, a cop comes and wakes her up. The audience feels tense and wonders if she is going to get caught with the $40,000. Marion is very nervous and we are afraid if the cop is going to search her bag. Her uneasy behaviour adds to the tension. The copâs sunglasses also add to the tension because he is staring right at Marionâs face, and Marion feels guilty and anxious.

Another moment of tension is when the cop follows Marion. We think that he realises that Marion is up to something. There is a slight low angle close up of the copâs car in the rear-view mirror of Marionâs car where she nervously watches him following her. The eyelevel medium shot of the car in the rear-view mirror, allows you to see him following, which is a reflection of the copâs car. Hitchcock builds tension by cutting between Marion and the cop.

Hitchcock also creates false suspense when Marion goes to a second-hand car dealer. The cop has an eye on Marion, but she does not know that he is there. We do see the cop so there is a moment of tension. She is doing things that you will not usually expect, such as being panicky and in a rush, which all builds to tension. While the mechanic pulls her car in to inspect it before selling her a different car, she is shocked when she spots the suspicious cop. Although she is aware that the new car she will be buying could be identified, Marion quickly and foolishly decides to buy it. Her nervous behaviour makes the surprised, car dealer wonder why she is forcing him to sell the car to her. She nearly leaves her bag behind, which is a false shock. We expect that Marion is going to be stopped by the cop, but luckily, she does not get caught with the cash.

Another false shock is when, Lila, Marionâs sister, screams when she sees her own reflection in the mirror in âmotherâsâ bedroom. She screams when she sees herself in many reflections in an opposite long mirror, but is relieved that the frightening image is only of herself.

You can only have a limited number of shocking moments to shock people because the few shocks give more impact. If there are too many shocks, then the audience gets used to it.

There are only three shocks in âPsychoâ: when Marion is killed in the shower; Milton Arbogast, the detective is stabbed by âmotherâ; and the discovery of âmotherâ by Lila. Hitchcock creates suspense and shock when Arbogast tries to interview âmotherâ. He quietly enters the front door of the house, takes off his hat, and then stands for a moment in the hallway. He begins to climb up the long steep staircase to the second floor. We feel a bit tense and afraid that something may happen to Arbogast because he is inside a sinister-looking house on top of a hill. Using a tracking shot, the camera follows him from behind to a tracking, high-angled shot in front of him as he climbs up the stairs so he looks vulnerable and small. A cut to the top landing, using an eyelevel close up shot to show a crack of light appear on the floor through the slowly opening door of a bedroom, creates tension as if âmotherâ is behind the door who will see Arbogast and attack him. When he reaches the top step, Hitchcock cuts to a birds-eye-view shot and the high-pitched, screeching music starts to create a shock when Arbogast is attacked at the top of the stairs, in a bird's-eye-view shot, by âmotherâ coming from the bedroom. He is stabbed to death in the face and blood flows out of his face when Arbogast falls backwards down the stairs to the floor. âMotherâ chases after him and gets on top of him; the knife goes up into the air for another strike before the scene fades to black. However, this is not the first shock of the film.

In the shower scene, we experience the first big shock in âPsychoâ. At the start of the shower scene the audience follows Marion into the bathroom. We see her undressing to have a shower. It is very quiet and we can just hear her taking off her gown. The shot is an eyelevel medium close up which makes us feel uncomfortable because we are close behind a naked woman and following her, which seems like we are intruding into this private space. We are looking straight at Marionâs bare back and upper body which makes us feel like Norman, when he was watching her undress through a hole in the wall. Like Norman, we are voyeurs and are intruding into this private space. Hitchcock then cuts to an eyelevel medium close up of Marion in the shower and we watch her cleansing and washing herself, like she is washing away her sins and guilt. We notice that Marion is very relaxed and happy because she is going back to Phoenix to pay back the money she has stolen. Hitchcock cuts to a low angle close up from Marionâs point of view of the water which looks like it is coming down at us, straight and sharp from the shower head which creates a moment of tension because, at the moment we cannot hear anything except for the running water, and this may distract us and Marion if someone is nearby. However, Hitchcock then cuts to an eyelevel medium close up in which we see Marion rinsing herself. This is a realistic shot because the camera is on the bathroom floor on the side of the shower watching Marion and we can see her calm facial expression, so we relax as well as Marion. We think nothing bad is going to happen to her because no one else is in her room and the bathroom and everything seems quiet except for the running water. This is also a private hotel.

Hitchcock then creates suspense by using dramatic irony. He uses an eyelevel medium long shot in which there is a dark shadow on the left, or dominant, side of the screen. Marion is in a completely private place, but in this shot we know that there is someone behind her, while Marion does not. The camera is in front of her, placed inside the wall, and Hitchcock makes us feel uncomfortable and tight as if we are trapped in the shower with Marion. As she is showering, through the translucent shower curtain, we see the door open. With her back to the shower curtain, we can spot a shadowy figure coming from behind. Marion does not hear the killer because of the water falling on her and her hair is soaked by the water so she appears to be small and vulnerable on the right side of the screen with her back to the shower curtain. We see the bathroom door open and we spot a shadowy figure coming from behind. We feel tense because the figure may harm Marion. The shock comes when the dark figure suddenly tears the shower curtain and shrill high-pitched music begins from sharp shrieking, violin strings. The shrill music plays a large part in creating absolute terror as does the silhouette of the figure that is revealed because the face is shadowed and we cannot see it. The killer is on the left or dominant side of the shot and is very dark; light can only be seen on the right side. The killer is holding a knife towards the right bottom corner of the frame where we last saw Marion, so we feel tense and terrified for her.

The shock continues with a close up of Marion screaming. The blurring of the image by the water makes Marion appear less human and everything happens fast. The close up shows her first reaction to the murderer and to intensify this Hitchcock cuts to an extreme close up of Marionâs mouth as she is screaming loudly. Next, Hitchcock uses a low angle medium shot of the killer who is dominating the centre of the screen. Hitchcock uses shadow to make the killer appear dark and horrific. The killer then starts to attack and we hear sound effects of stabbing. In reality, the sound was made by stabbing a melon. Hitchcock then cuts to a high angle medium shot of Marion to make her look weak and vulnerable. She is in one corner of the frame and the knife is in the space. The knife is blurry because it is moving very fast and Marion is in the corner backing away. The tile wall is trapping her behind and she is very exposed. The attack goes on and on and we keep hearing stabbing sounds of the knife. Hitchcock then uses a high angle close up of Marionâs feet so we can see the blood being washed away from Marionâs body, which creates the impression that Marion is dying because she is losing large amounts of blood and looking very weak. The killer leaves and Marion slowly dies. Hitchcock uses an eyelevel close up of Marionâs hand trying to hold on to the tile wall. She is trying to hold on to her life. This is the aftermath of the shock but there is still tension because there is nothing we can do and slow and low-pitched music starts to create a sad atmosphere.

Marion slowly slides down with her back against the wet, slippery shower wall, while looking up and the camera follows her slow fall. We feel guilty because we are unable to help. We then see Marion stretch her hand out to grab the shower curtain but it comes across as if she is stretching her arms towards us, for help. We want to help Marion but it is impossible so we must just watch her fall so we feel powerless. Then Hitchcock cuts to a birdâs-eye-shot where the shower pole divides the screen in half, which seems like we are directly watching what is happening down in the bathroom. Marion holds onto the shower curtain and pulls it down from its hooks one by one onto herself, which is a diegetic sound and now the slow and low music stops. Then we can just hear the water running from the shower, which tells us that the attack is over and Marion falls to the floor, dead. After that, Hitchcock cuts to a high angle extreme close up of the dark plughole, which is sucking up the water and Marionâs blood which suggests that Marion's life has gone down the drain. The shot dissolves to an extreme close up of Marionâs eye where we can see drops of water which seem like she is crying, which creates an atmosphere of sadness. There is great difference between Norman's 'peeping tom' eye and Marion's dead eye because Marionâs eye looks completely innocent, but Norman was using his peeping eye to watch her undress. Then the camera zooms out to her upper body which becomes a tracking shot where the camera turns and tilts as if we are standing up. We feel sorry and very guilty for Marionâs death as we were unable to stop this terrible attack, so when we leave the bathroom we are basically leaving Marion.

In comparison, in âThe Birdsâ, Hitchcock uses several shocks, perhaps maybe ten or more. Some of them are shocks with no suspense such as when the gull pecks Melanieâs head; the attack by the birds at the childrenâs party; and when the sparrows come down the chimney and attack Mitchâs house. There are also shocks with suspense: the school attack; when Annie is dead; the gulls peck the farmerâs eyes; the petrol station scene; the attack on Melanie in the attic and the huge number of still birds at the end of the film. He does this to shock his audience again and again.

Hitchcock also creates dramatic irony and tension in âPsychoâ when we see the shadow of âmotherâ in the shower scene. Hitchcock also creates dramatic irony in âThe Birdsâ in the climbing frame scene. Here, we see Melanie smoking outside the school, sitting on a bench in a medium long shot. She is calm. There is a long shot of the school and an establishing shot of birds in the sky. We can hear children singing, which sounds normal. There is then a cut to a medium long shot left of the climbing frame behind Melanieâs head (in the right corner of the frame) that dominates the shot to show it is empty. We see one bird land, and Hitchcock builds suspense as he cuts between Melanie looking relaxed and a shot of the climbing frame with four to five birds. Then he cuts back to Melanie before cutting to the climbing frame with fifty birds. Then again he cuts to Melanie still smoking and watching the birds. A cut to the climbing frame which is now full of birds creates shock which Hitchcock develops shock when Melanie looks behind her and sees them. Hitchcock cuts to a high angle long shot as she rushes to the school, which makes her seem vulnerable because then there is a cut to a low angle as the birds start to attack. Both of these attacks are extended and constant.

Hitchcock also uses slow suspense such as when Arbogast and Melanie climb up the stairs in âPsychoâ and âThe Birdsâ respectively. He also uses the stillness of the birds as a collective and then shock. There is the shock of sharp objects in a close up, for example, the knife in âPsychoâ and the beaks in âThe Birdsâ.

In âPsychoâ, Hitchcock creates tension by mainly using music which sounds unnatural, and also shock with the exception of the diegetic sounds in the shower scene. In contrast, he only uses diagetic sounds in âThe Birdsâ such as when the birds are squawking and making noise for tension, Hitchcock also uses silence (the absence of sound) to make the audience feel uncomfortable, for example when we see the broken cups in the farmerâs house. The sounds during the attacks in both films are sharp, harsh, strange and disturbing which build shock because they make the audienceâs heart beat.

At the end of âPsychoâ, there is a resolution. The killer, Norman, is in prison and is punished. However in âThe Birdsâ, there is a cliffhanger as the birds win and the humans flee. The film is unresolved, so it creates tension among the viewers. âPsychoâ is in black and white, which makes it more sinister and frightening for example, the blood in the shower scene looks realistic, even if it was chocolate syrup. Also lighting is used to create shock. For example, in the fruit cellar, the body of 'âmotherâ is brought to life, revealed by the dead bodyâs crazily laughing face, with its eyes moving, lively and brought back to life by the light. The eyes of the corpse that stare at Lilaâs direction appear realistic but they are indeed dead. This can only happen in black and white, as it involves shadow. In contrast, âThe Birdsâ is mostly in colour so it seems less scary and happier at first. However, the blood looks artificial to us because it is bright red. A better use of how Hitchcock used colour was the fire which looks extremely terrifying and dangerous because it is bright orange and yellow, which would not have the same effect in black and white. However, there is a change of the use of colour at the end of the film when it is mainly black and white because of the colour of the birds and also because it is night which creates tension and a sinister atmosphere.

The killers in both films were realistic but strange and unexpected. The story starts in the city, but mostly set in a small rural town where the character is unfamiliar so the audience has sympathy for them. Also the small town is supposed to be safer, but is surprisingly dangerous. The main characters in both films are blond, stylish beautiful women, both motivated by a love interest. Hitchcock uses experts for both films. In âPsychoâ, there is a psychologist who comes at the end and explains Normanâs condition, which is the resolution. The car is pulled out. There is no more tension. In âThe Birdsâ, an ornithologist woman gives information about birds and their behaviour. In âPsychoâ, Norman's hobby is stuffing dead birds and other animals. The birds are, of course, a constant image in âThe Birdsâ.

At the beginning of âThe Birdsâ, we think this is a romantic comedy, when Mitch flirts with Melanie and the lovebirds move side to side in the car, while Melanie is driving in her car. This seems funny as birds do not normally do that. âPsychoâ, however has nothing to do with comedy. In âPsychoâ Marion is serious and poor whereas Melanie is cheerful, spoilt and rich. Both films are misleading because it starts as a romance. In âPsychoâ, Sam has left his ex-wife and now wants to stay with Marion, but he cannot afford to support her economically, so they are both unhappy. In âThe Birdsâ, Mitch too had a previous lover, Annie but now lives with his mum, Lydia and younger sister, Cathy. Both films are a thriller and become dark and sinister. Hitchcock misleads us to make the shocks more shocking.

Hitchcock creates suspense and shock in the way he uses cinematography: camera position, angles, shots, colour, lighting, sound and music. For example, in âNorth by Northwestâ, Hitchcock creates a scene of suspense and shock in the plane scene. There is an extreme long shot of the sky and cornfield and Cary Grant who looks small and helpless, stands waiting. Then a plane tries to attack him. There is a long silence, and he looks for the plane engine. A truck approaches and Hitchcock uses the camera from Caryâs point-of-view of the truck coming closer until it is an extreme close up of the grill of the truck. This creates shock as the grill is coming towards Grantâs face and ours. There is a point-of-view shot of the plane. A close up of Grant shows us he is shocked and a cut to a long shot of the plane coming towards him builds tension. Grant dives under the truck and then there is a great big shock, when the plane crashes into the truck which is leaking petrol and there is a terrific explosion.

In my opinion, I believe Alfred Hitchcock was outstandingly excellent at creating suspense and shock in a number of ways especially in the shower scene, as we know âmotherâ is coming from behind, but Marion doesnât since her back is facing the shower curtain. I preferred the film âPsychoâ as it was more successful in creating suspense and shock, since the film was made in black and white. This made it seem darker, scarier and creepy.

could you please help me?

Anonymous — Thu, 10 Jul 2008 10:36:43 GMT

Hi all, could you help me with grammar in my covering letter? I know that first paragraph is fine so I would like to ask you to check the middle part which is below.

Recently, I decided to increase my knowledge of payroll and become familiar with current payroll legislation. As you will see from my CV, I am expecting the results of my exam and certificate from Pitman Training. During the course I learned how to calculate gross/net pay, holiday payments and deductions, national insurance contributions, all statutory payments. I am confident with processing monthly and weekly payroll including general data input, starters, leavers, processing P45, P46, P11, P11D, P60 forms, issuing electronic timesheets, pay reviews and reports, checking and inputting tax code changes. I am familiar with manual as well as with computerised payroll (Sage Payroll). I hope you will agree that this is a sound background for an entry level Payroll Clerk.

I have enclosed my CV for your review. Please call me at the contact number given so that we can discuss how my qualification can be of benefit to your company. I look forward to hearing from you and am available for interview at your convenience.

Thank you for considering my application.

grammar in covering letter

Anonymous — Wed, 09 Jul 2008 14:01:58 GMT

Thank you for considering my application.

Yours faithfully,
AA

Re: one

Clive — Mon, 30 Jun 2008 13:47:58 GMT

Hi,
The way people talked in the twenties, thirties, and wasnât that much different from today. As a matter of fact youâll see a number of the same words used today. Of course speech patterns change from town to town, state to state and country to country. But one thatâs stayed the same all through the decades, although different, is fads and the use of slang.

What does "one" refer to? Is it gramatically correct? (I have some doubts because I looked for a singular noun the pronoun "one" may stand for but I couldn't find any). What do you think?
'One' here is a noun, not a pronoun. eg There are 6 balls. One is red.

In your paragraph, 'one' means 'a speech pattern'.
ie . . . speech patterns change . . . one that's stayed the same . . is . . .

Best wishes, Clive

Re: famine

RayH — Fri, 20 Jun 2008 02:15:40 GMT

Here's my take on your paragraph.

Famine is not uncommon in Africa. In fact, every year we hear the cries of the African people either on TV, in the newspaper or through charitable organizations. The word Africa conjures up an ~~the~~ image of poverty, starvation, disease s, malnutrition, and lack of education ~~and other negative thoughts~~. According to the latest statistics, African countries have been receiving 1 billion dollars of food and financial assistance annually from the UN and the number is expected to rise over time. I urge everyone to stop turning a blind eye ~~deaf ear~~ and start taking action. Some areas in Africa are fertile for agriculture but the land can't be put to use for ~~because of~~ political reasons, as well as lack of farming skills and equipment. If we can eliminate these barriers, the food crises in Africa will be reduced in the coming years and perhaps the people of Africa ~~they~~ will become a food exporters and contribute to the global economy.

~~and other negative thoughts~~ Deleted because it just kind of trails off weakly.
blind eye to match the earlier evocation of "an image" of...
"the people of Africa" to match the earlier mention of "the African people"

Re: "will more" vs " will be more"

Nokia88 — Wed, 18 Jun 2008 01:30:26 GMT

Sir, what is your advice in this paragraph?
(link) http://en.ce.cn/Industries/Consumen-Industries/200806/05/t20080605_15736942.shtml

The number of casinos in Macau has more than doubled to 29 since the government ended billionaire Stanley Ho's 40-year gaming monopoly in 2002 and awarded licenses to five other operators. Annual expansion of 29 percent will more than double revenue in three years while sustained 45 percent growth will achieve the same effect in a two-year period.

A). Is "double" a noun or a verb in the phrase?
B). Can "will more than double" be replaced by "will be more than double" in the phrase as it's not followed by "to"?
C). Has the writer dropped the "be" inhabitually?
D). Or, shall I consider both cases are grammatically correct?

Thanks in advance!

Re: Urgent help with identifying arguments..

Clive — Sun, 15 Jun 2008 19:08:15 GMT

Hi,
The word 'argument' has a number of meanings. One is 'a summary of a line of reasoning'. I assume that this is what you mean here.

I have a question regarding identifying arguments. The below statements are arguments or not. I need explanation. Any help would be appreciated.

1. "It is unlikely, for example, that many Americans remember that, earlier in 2001, an earthquake in Gujarat, India, killed approximately 20,000 people. One might explain the difference in reaction by saying that we naturally respond more strongly to the deaths of Americans closer to home than to those of others halfway around the world." The words 'earlier than' do not specify 'earlier than what'. In addition, the word 'difference' refers to something that is not fully explained in these sentences. In short, this is nor a complete summary of a line of reasoning. It's not 'an argument'.

2. "The terrorist attacks of September 11, 2001, produced a response among American officials, the media, and the public that is probably matched only by the attack on Pearl Harbor in 1941. Since it is the very nature of terrorism not only to cause immediate damage but also to strike fear in the hearts of the population under attack, one might say that the terrorists were extraordinarily successful, not just as a result of their own efforts but also in consequence of the American reaction."
This paragraph seems more complete, so I'd say it can be termed 'an argument'.

Best wishes, Clive

Re: Whant to make friends!

hulagirls — Mon, 09 Jun 2008 08:37:20 GMT

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Re: correction

Delmobile — Fri, 30 May 2008 03:28:43 GMT

"Businesses like banks and bakeries are closed."

To be absolutely clear, I would say: "Some farmers refuse to evacuate because the harvest season is approaching." "As" can be used to mean "because," and your use here is correct; but I would prefer "because."

"quake hit cities" is a little awkward. I would say "cities affected by the quake."

"...will take years, if not decades, and will require..."

"Under the national's one-child policy, parents who have lost children in the disaster will be allowed to have another child." "Kid" in this kind of writing is inappropriate.

"who had lost his five-year-old daughter..." Two hyphens. And I was taught to spell out any number smaller than 100, but that's just a style question.

I'd order your last paragraph like this:

In some areas, only the school buildings collapsed, while other buildings were hardly damaged. This has led some residents of these areas to believe that the government cut corners to save money when the schools were constructed, and these parents now blame the government for the deaths of their children. When officials came to clean up the rubble, residents protested and chased them away in an effort to preserve evidence they believe the government was trying to cover up.

Re: (Urgent!) Could you please comment my essay here? Thanks

Grammar Geek — Wed, 21 May 2008 14:25:21 GMT

Hi Chibi.

Paragraphs are always welcome. Highlights show possible problems.

Topic: Today many young women choose to stay single. What do you think are the reasons for this new trend? Write an essay between 300 and 350 words about what many lead to one womanâs decision not to marry.

Quynh, who is still very young in her twenties, desires to do a lot of remarkable things such as studying to become a successful manageress, travelling around the world and devoting to charity program for children. Thus, she does not want to fix her life to a marriage. This is also the choice of many other women at her same age. They â who have had more chances to lead their life in their own way choose to stay single so that they can put all their energies into social and career life without worrying the possible difficulties of family life. Looking back at the society ages ago, women were not allowed to get beyond the bounds of familial principles. All they could do was to obey their parentsâ guides, and then their husbandsâ. Living such a life may lead women to inactiveness and depression.* Therefore, when doors are open for them to decide on their life, they naturally turn themselves towards the joys of little commitment and pressure.** Thatâs the time they can take all their chances for travelling and having parties, or spend all their money on clothes and make-up.*** In addition, the fact that women have gradually gained the equal roles as men in the integrated society encourages them to urge for much more improvement. These women become so workaholic that they think they have little time for anything else. Related to the first reasons, family life now has been considered a burden to some young women ~~in some cases~~. They seem to be afraid of caring about the household, financial problems and children because these may take a lot of time for their own. The lack of private time not only limits their free life but also results in their little devotion to the job. Moreover, the mass media has talked continually about home violence which has physical and mental influence on all suffered women. As a result, many young women still keep unmarried to protect themselves.**** To wrap up, a considerable number of young women now avoid strain their life by not coming to a marriage. They preferably lead a free life without worrying to be a victim of any home violence case, at the same time; they can absolutely be dedicated to their own career.

* I suggest more women suffer from depression today than in the past, so this may not be a good argument.

** You don't think a successful career brings pressure??

*** Spend their money on clothes and make-up? What about buying a home of their own, or Quynh, who wants to donate to charity? This is an absurd statement

**** I don't think you'll find many people saying "I didn't marry because I was afraid of domestic violence." Do you have survey data to back this up?