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1.1516 Alfred Hitchcock's Shadow of a Doubt: A Dark Mirror of German Expressionism.
In this effort, Hitchcock employs many of the thematic and cinematic elements of earlier film genres; in particular that of German Expressionism. This essay will argue that Hitchcock uses the Expressionist device of the doppelganger or double to delve into the darker areas of the human mind. The brilliance of Hitchcock's employment of this in Shadow of a Doubt, it will be argued, lies in Hitchcock's realization that the monstrous is intimately linked, and may in fact be produced by, normality. 3.5 pgs. 4 f/c. 3b.
Pages: 3.5
Bibliography: 3 source(s) listed
Filename: 1516 Hitchcock Expressionism.doc
Price: US$26.85
2.1806 "Film Noir" Motifs in Hitchcock's Shadow of a Doubt.
Alfred Hitchcock is one of the few Hollywood directors to be considered an auteur. Over the course of decades he consistently produced his dark vision of reality from within the heart of the Hollywood dream factory. A singular example of this dark vision is his 1941 film Shadow of a Doubt. This paper will examine how, in this work, Hitchcock employs many of the stylistic elements of the genre that would later become known as film noir to reveal the darkness that is at the heart of the "American dream." 4 pgs. 7 f/c. 3b.
Pages: 4
Bibliography: 3 source(s) listed
Filename: 1806 Film Noir.doc
Price: US$35.80
3.1827 "Film Noir" Motifs in Hitchcock's Shadow of a Doubt.
This paper will examine how, in this work, Hitchcock employs many of the stylistic elements of the genre that would later become known as film noir to reveal the darkness that is at the heart of the "American dream." 5 pgs. 6 f/c. 2b.
Pages: 5
Bibliography: 2 source(s) listed
Filename: 1827 Film Noir Motifs.doc
Price: US$44.75
4.1988 The sickness within: Alfred Hitchcock's masterpiece, "Psycho".
In Psycho, Alfred Hitchcock expertly uses a number of filmic devices to articulate the theme of a universal, encroaching evil. This paper will discuss the various ways in which the classic film forwards these themes in its remarkable use of different camera shots and sounds. 5 pgs. 0 f/c. 0b.
Pages: 5
Bibliography: 0 source(s) listed
Filename: 1988 Alfred Hitchcock's Psycho.doc
Price: US$44.75
5.2929 Alfred Hitchcock's "Lifeboat": A Thesis On Unity and the Unknown.
This paper looks at Hitchcock's movie "Lifeboat" and looks at the element of history that plays in the relationship of characters in the story, the motives in Hitchcock's auteuristic thought that develop the story, the techniques used to film the movie, and the overall scheme of ideals, as well as the fear of death and silence that pervade the Hitchcock element that signify the style of his stories. 5.5 pgs. 3 f/c. 3b.
Pages: 5.5
Bibliography: 3 source(s) listed
Filename: 2829 Alfred Hitchcock's Lifeboat.doc
Price: US$44.75
6.5686 Alfred Hitchcock: An Analysis.
This eight-page undergraduate paper discusses the elements of film style used by Alfred Hitchcock in his legendary films, particularly in STRANGERS ON A TRAIN. The analysis notes the outstanding instances of Hitchcock's film technique, including his trademarks, considers the historical time in which the films were made, and evaluates the manner in which Hitchcock created the best suspense films in cinematic history. 8 pgs. Bibliography lists 5 sources.
Pages: 8
Bibliography: 5 source(s) listed
Filename: 5686 Alfred Hitchcock Analysis.doc
Price: US$71.60
7.3303 A Divided Vision: The Renoir-Hitchcock Continuum in Francois Truffaut's "Shoot the Piano Player" and "The Bride Wore Black".
This paper will attempt to situate two Truffaut films - "Shoot the Piano Player" and "The Bride Wore Black" - along the critical continuum between these two auteurs. It will be argued that while the influence of Hitchcock in these films may be found mostly in their formal qualities, while that of Renoir lies in their thematic orientation, such an absolute distinction is alien to Truffaut's appreciation and understanding of these directors. Thus, rather than reading these films in terms of a tension between two polarities, it will be shown how Truffaut interweaves elements of both directors' visions in two complex visual tapestries that are ultimately and undeniably his own. 6 pgs. 5 f/c. 3b.
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