Please enable JavaScript.
Coggle requires JavaScript to display documents.
Vertigo Eernie's Restaurant (Meeting Madeline), Vertigo Context and…
Vertigo
Eernie's Restaurant (Meeting Madeline)
Establishing shot of the restaurant lowkey lighting with tints of gold and red through the glass-stained windows, creating a sense of romance, exclusivity and a sense of inviting in
in the framing, perfect women in scotties eyes (his fantasy) sexualising, shot reverse shot, male graze of the camera movements
It then dissolves into a shot, focusing on Scottie as he edges back on his chair looking towards the left, it is clear that he is physically and visually focused on Madeline - this shot is synonymous with Hitchcock's male gaze technique
The camera pans around the restaurant showing everyone wearing black or neutral tones, except from Madeline as her icy blonde hair, silky emerald green dress stands out, voyueristic view we are positioned as scottie sees her
Scottie arching his neck looking towards the left, camera zooms and pans out, her back on show allows the viewers to spot her instantly
The room is dark red, to represent scottie's fantasy world, placement of Madeline green dress striking, she is the focus in his fantasy
Red is used to represent scottie's fantasy world, placement of Madeline green dress striking, she is the focus in his fantasy
POV wide shot of Madeline in the centre of physical barrier frames, highlights how he views her and the objectification of Madeline
green represents obsession the wide long zoom in slowly
Inside the restaurant it oozes luxury, the red walls and the Madeline, in a dark emerald silk dress, within the door frame pop almost as if she is trapped within scottie's fantasy and the focus in his world
Gavin Elster is n the background of the framing of Madeline which may foreshadows later on in the film when we find out that he is behind the plan.
We then see scottie, arching his neck looking towards the left of the screen into the centre of the restaurant, welcoming our eyes by zooming out and panning out, open to see all the people I the room but also revealing Madeline as her emerald green dress stands outside, alongside her back exposed and her icy blonde hair
Fantasy-like eerie music begins once Madeline is recognised, idea of voyuerism and foreshadowing - aspect of a typical thriller and especially one of Hitchcocks reoccurring theme of being watched eg rear window and birds
James stewart is a star verhicle
Herrmann music enhances, louder than the inaudible dialogue, significant of his fanciful imagination and gaze upon Madeline (Laura Mulvey)
Vertigo
Context and Revision List
Gender
Madeline
she is sexualised and fantasised through Scottie and Hitchcock positions the viewers to sexualise her also. (Male Gaze proposed by Laura Mulvey)
You could argue that Hitchcock is adhering to stereotypical representations of women, being used for a mans pleasure and desires. This is resonated also throughout eh reoccurring theme in his film where the female role is a distinct, icy blonde female and is commentary on Hitchcock's own desires.
However, Hitchcock stated that his purpose for using icy blonde female roles was because he believed that they were 'less suspicious than brunettes', alluding to the deliberation of creating a femme fatale figure that entraps the male into a fanciful imagination.
Thus, it could also be argued that he is rejecting stereotypical representations of females to be submissive, weak and innocent. Rather, he is representing women to be something underestimated and devious.
'destabilising effects on film narrative' in 1950s films regarding femme fatale figures (Jack Boozer) "The Lethal Femme Fatale in the Noir Tradition"
This means to cause a change, disrupt something that causes upsetness
madelines duplciity offers audiences a version of passive femininity that camouflages a more active intent
however she allows scottie to transform her and she wants to be loved by him. although she was apart of the plan.
Scottie
he is presented as hypnotised by his attraction towards Madeline. This is shown through colours and camera movements where she is made distinctively recognised, despite exposing a wide shot of the entire restaurant.
It could be argued that Scottie is rejecting stereotypical notions of a man being strong, dominant and in control. Rather, he is the opposite; he is credulous, dazed, captivated and manipulated by Madeline and the idea of her.
This is a reoccurring theme in Hitchcock's films whereby, the well known star vehicle, James Stewart is attracted to icy blondes in Hitchcock's films and therefore the viewers can initially speculate his attraction to her
Thus, it could be argued that Scottie is being presented as enchanted, captivated and pleasantly startled by Madeline's presence, rejecting stereotypical notions of a man being dominant and in control. Although, there is moments in the film where he is presented as assertive with Judy and in control of her dress sense and hair, it is also driven by his irresistible urge for Madeline and his uncontrollable desire to see her again.
vulnerability, from opening. he's quite weak himself - film noir, Hitchcock uses the lure of femme fatale
Auteur
Voyeurism
Hitchcock intentionally positions the viewer in a voyeuristic perspective of Madeline in order for her to be sexualised and appreciated for her beauty. This is a reoccurring theme in Hitchcock's films where he sexualises the icy blonde female roles in his films.
Taboo Sexuality
Scottie 'necrophile' a man who wants to have sex with the dead. he also touches upon the influence of a femme fatale figure and the consequences of their actions inflicted upon males
heteronormative is challenged he's still conforming through soft focus Hollywood glamour but she is romanticising he plays with it but doesn't push the boundaries so far that he'd get fined by the haze code , white middle class affluent Classic Hollywood is a reflection of that. women were haled. rich reds and greens foreshadows the story. Madeline is enigmatic. eyeliner matches use through panning
soft focus femininity. - passive alluring, low contrast to give them this sense of glamour frozen in time - hays come 25k fine he weaved around it. 1950s started to test the code
industry struggling at this time Cleopatra. Hitchcock cuts to crashing waves to infer Madeline's and scotties sexual union, implying it but not explicitly showing it
scottie is vulnerable but jack Nicholson plays with pronographic cards
film noir: allows room for creativity allows daring and mysterious, allows ppl to experiment more w films.
obsession
challenging to norm, it wasn't received very well. reputation of master of suspense and its slow. German expressionism. psychological thriller is different
he established a camera the never leaves is subjects alone