Opening scene- cinematography
extreme close up of eye
close up of hand grabbing bar
tracking shot from close to wide establishing shot of san Fran
set design- back projection
panning wide shot following characters
Birds Eye shot looking down
Dolly zoom- Paramount pioneered
close ups of hands and facial expressions
Opening scene- sound
non diegetic, parallel score, orchestral (composer- bernard hermann)
diegetic gunshots
parallel diegetic intense score
diegetic screaming
Opening scene- MES
urban environment
San fran silhouette
costume design- police officer- archetypes of thriller
lowkey lighting
dramatic performances
prop gun
Opening scene- editing
animated colourful spirals
colourful wash over the eye
fade to black from eye to chase sequence
continuity editing
eyeliner match- scotty’s pov looking down
shot reverse shot
cut to black
Ernie’s scene- cinematography
-Establishing tracking shot outside ernie’s- pulls in
-Panning shot away from Scotty across towards Madeline
-Camera tracks towards Madeline
-Mid shot of Scotty watching- voyeurism
-Wide shot of Madeline in the frame
-Camera follows and pans with Madeline and stops with a close up profile shot of her- she is the ‘perfect woman’
-Switches between side on close ups of Scotty- doesn’t want to be seen
-Wide shot of E and M passing a mirror
Ernie’s scene- editing
-Fade cut from outside to Scotty inside- dream like
hot reverse shot, eyeliner match scotty watching Madeline
-During Madeline profile shot red walls behind her brighten- gives her a glow, perfect, main attraction- German expressionism- surrealist, dream like
Ernie’s scene MES
-Set design- walls red- sensuality and danger
-Costume design- Madeline green everyone else greys, blacks
-Green= ghosts?
-Low key dim lighting
-Body language- can’t see Madeline’s face only her back- duality, secrets
Set design- Madeline is shown in a frame- voyeurism, male gaze, she isn’t real ( she is a spectacle, Scotty is observing)
- When they are in the frame, Madeline in light, Elster in shadows- he is sinister
-Posture- M stood tall, S sat slouched- he feels inferior to her
-Elster and M pass a mirror where can see them twice- duality
Ernie’s scene sound
-Diegetic chatter in restaurant
Non diegetic instrumental score when camera notices Madeline
-Non diegetic score tightens when M close to S- romantic, intense
-Then descends to sad when he turns away(realise he can’t be with her)
Ernie’s scene- context- studio system(SS), auteur, David bordwell
-Voyeurism appears in lots of Hitchcock’s work- auteur
-Hitchcock- “I’m a believer in the subjective” scenes from pop of individual- shown from Scotty’s pov in this whole sequence
-clear characters- SS- M,E,S
-classical film form: close ups highlight facial expression, establishing shots, non- diegetic score- emotion
-continuity editing, shot reverse shot, eyeliner match
Ernie’s scene- subverts classical Hollywood style
Dreamlike- experimental uses of cinema- German expressionism
Closing sequence- cinematography
wide shot when Judy walks out
360 camera during kiss
tracking towards scotty as he looks at necklace
track towards necklace
two shot of them in car
close ups of Judy then Scotty
profile shot of scotty from Judy pov
establishing shot of bell tower
mid shot of Scotty holding Judy
low angle looking at bell tower
tracking shot and pan as they walk to it- voyeursim
high angle climbing up stairs
dolly zoom as scotty looks down
two shot scotty holding Madeline against the wall
wide shot at top of bell tower
wide shot of scotty stood on bell tower
Closing sequence- MES
Proxemics- Judy walks closer
holding each other
back projection of street in car
body language and proxemics- possessive- holds Judy outside car
low key lighting
Scotty- aggressive performance- strangles judy
Judy looks up at Scotty- pleading
Judy- desperate vocal tone pleading
nun comes up
Closing sequence- sound
Parallel intense non diegetic score
heightens during kiss
diegetic dialogue
diegetic footsteps
diegetic stumbling
diegetic screaming of Judy
Closing sequence- editing
Green hue on Judy
shot reverse shot between Judy and Scotty
cut between necklace and painting
cross fade to wide high angle of car driving
eyeliner match of scotty’s face
cross fade to establishing shot of bell tower
eyeliner match, pop shot- looking at bell tower
shot reverse shot eyeliner match as scotty and Judy talk
