VERTIGO - INTRODUCTION OF MADELINE
MISE EN SCENE / PERFORMANCE
CINNAMONTOGRAPHY
MUSIC / SOUND
EDITING
Fade in between scenes
Going into a dream-like sequence
The doors
Red = the colours of a period
Going into a feminine place
Stained glass
A church: worshipping Madeline
Like teeth
Scottie is about to be chewed up and spat out
Unanchored POV shot
Unseen voyeurs watching Scottie from afar
US
Scottie's blue
Turns red when his obsession grows
Yet to be obsessed: a respectable man so far
Carlotta foreshadowing
The frame in the centre of the restaurant
The flowers
Sets up to the audience that there's more than meets the eye if you're paying attention
The first time we see Madeline
Has our back to us, while showing a lot of her backsides
Emits To-be-looked-at-ness
Setting up that green is Madeline's colour
Green = the colour of the uncanny, setting up the ghost story element of the film
A green in a sea of greys and blacks
Scottie and the audience RECOGNISE our main love interest
Decoy Madeline walks along the frame
Foreshadows the fact that there's more than one Madeline, and rewards those paying attention
Yonic symbolism
Strong use of frames
The multiple frames suggest that multiple unseen eyes are watching her, like a painting
Resembles the Carlotta painting
She later comes out of the frame and into the real world
Foreshadows how Scottie's sexual desires will later come into reality
Soft white light from above
A perfect, heavenly image coming to life for Scottie
Scottie meekly looks away when almost making eye contact with Madeline
Cringe beta male struggling to get his manhood back
Multiple Madelines in the mirror
Foreshadowing
Kim Novak playing Judy playing Madeline
Self aware voyeurism
A consistent, slow pace of editing through the scene
Gives it a calm, dreamy feel
Only speeds up when they almost make eye contact
Heightens sexual tension
Madeline in the centre of the frame
The centre of attention for Scottie
Long tracking shot when we first see Mads
Slow, creeping, like a predator
Like US
Or Hitch
Shares where the gaze of Scottie is going to us
Camera gets lower the closer we get to Mads
Very voyeuristic
The music "climaxes" when the camera is up close to Scottie
Represents Scottie's erection
The music dies down when Scottie looks away
Cringe beta male with an identity crisis can't get his erection (manlihood) back
A haunting, melancholy soundtrack plays when we first see Madeline
Represents Scottie being enchanted by Madeline's presence
Subtly tells audiences that there's more to this than what's on the surface
Red = the colour of danger too, warning Scottie of the danger that will unfold
Black dress also introduces us to the idea of mystery and the allure that Scottie gets from Madeline
Confusing layout of the restaurant
Scottie is trapped in a world of illusion and confusion: he's officially part of the lie
A divine and perfect view
Establishing shot - HOLLYWOOD CLASSICISM
A Hitchcock macguffin - STRUCTUAL MOTIF
Pure cinema - At this point in the film we're not aware of who Carlotta is, and so Hitch is using visual techniques to foreshadow everything that's going to happen
Wide shot before focusing on Madeline
Known as a setpiece shot - swooping camerawork is a common trademark of his
We're looking for Mads the same way Scottie is - sharing his POV
Negative space
Madeline is in the centre of a triangle with the dark clothes of the surrounding guests so that our eyes are drawn to her easier
Gives both the audience and Scottie a sense of deja vu - spiral motif
Always side profile shots of Mads - deliberately exuberating to-be-looked-at-ness
Reaction shots gets closer to Scottie the closer he gets to Mads
The emotion is slowly building inside of Scottie when Mads gets closer
Carlotta proxemics
Later on in the art gallery we see Mads staring at the picture of Carlotta, framed in the same angle and in the same part of the frame
We buy into this ghost story because we get this cyclical sense of deja vu
Voyeurism
Scottie also has frames behind him
Unseen eyes are also watching him
This moment is repeated in the resurrection scene, where Mads walks out of the frame again
Such an emotionally intense moment for Scottie that he must try to replicate it later
Basically necrophillia
The red in the background also briefly pulsate, like this moment is extremely passionate, bright and "arousing"
Scene also ends with a cross dissolve
Like a book-end to this sequence
Almost isolates this scene from the rest of the film, like Scottie's dream