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VERTIGO - INTRODUCTION OF MADELINE - Coggle Diagram
VERTIGO - INTRODUCTION OF MADELINE
MISE EN SCENE / PERFORMANCE
The doors
Red = the colours of a period
Going into a feminine place
Yonic symbolism
Red = the colour of danger too, warning Scottie of the danger that will unfold
Stained glass
A church: worshipping Madeline
Like teeth
Scottie is about to be chewed up and spat out
Establishing shot - HOLLYWOOD CLASSICISM
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
Gives both the audience and Scottie a sense of deja vu -
spiral motif
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
Black dress also introduces us to the idea of mystery and the allure that Scottie gets from Madeline
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
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
Strong use of frames
The multiple frames suggest that multiple unseen eyes are watching her, like a painting
Voyeurism
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
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
Always side profile shots of Mads - deliberately exuberating
to-be-looked-at-ness
Scottie also has frames behind him
Unseen eyes are also watching him
Soft white light from above
A perfect, heavenly image coming to life for Scottie
The red in the background also briefly pulsate, like this moment is extremely passionate, bright and "arousing"
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
Confusing layout of the restaurant
Scottie is trapped in a world of illusion and confusion: he's officially part of the lie
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
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
CINNAMONTOGRAPHY
Unanchored POV shot
Unseen voyeurs watching Scottie from afar
US
Madeline in the centre of the frame
The centre of attention for Scottie
A divine and perfect view
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
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
Reaction shots gets closer to Scottie the closer he gets to Mads
The emotion is slowly building inside of Scottie when Mads gets closer
MUSIC / SOUND
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
EDITING
Fade in between scenes
Going into a dream-like sequence
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
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
