Alfred Hitchcock Use Of Suspense Analysis

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2.1 Introduction
This section will explain what was found from considering Hitchcock’s use of suspense and humour; these observations were used to help create prototypes for various Hitchcockian 3D animated short
This section will look at these films: (Marnie, 1964), (North by Northwest, 1959), and (Rear Window, 1954). Many different cinematographic methods will be explored by analysing a wide range of directors including some of the most prominent individuals, such as: Alfred Hitchcock, Stanley Kubrick, and Orson Welles; as well as some lesser known film makers, such as: Henry Selick, and Michael Crichton. This research was used to help create a prototype animation which incorporates the elements that will be found.
During Hitchcock’s career,
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The films that will be discussed in this section include: Rear Window, 1954;
2.2 Suspense in the films of Alfred Hitchcock
The difference between suspense and surprise Hitchcock’s film style has overall theme/ elements of suspense.

2.2.1 Hitchcock’s
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16) coined by Hitchcock himself. (Morris p.215), in Psycho the McGuffin is the $39,300 in cash; in Rope the McGuffin is a corpse (p.167).

In Shadow of a Doubt, (Strerritt p.57-58) this scene was shot like a hammer horror film, with shadows and a Dracula like performance.
(smith p.40) difference between suspense and surprise, they are complementary, e.g. In north by northwest

Note: Group together hitchcock’s movies into periods

1950’s film reflects the style of the time (Sterritt p.65)

In Rear Window is filmed from one person’s perspective

According to (smith) there are different forms of suspense; vicarious, shared, direct,

Alfred Hitchcock thought of his films as storyboards come to life (Tumminello, 2005, p. 21), he worked with title designer Saul Bass to create the storyboards for Psycho.
Hitchcock said that his mistake on sabotage was letting the bomb go off (smith),.the audience needed relief from the suspense
However, this did subvert the audiences expectations but it was too effective, unbalanced

Who killed cock robin? P.12

This is further supported by interview with Hitchcock

2.2.2 Colour and