The 1920s were known as the Jazz Age and Americans prospered due to the zooming of stock markets and the flourishing of the arts. At the turn of the decade, the Great Depression set in, precipitated by the biggest crash in Wall Street history. The country went into a period of great introspection. As politicians and economists were grappling with finding solutions to pull through the economic depression, similar efforts are being made to improve the standards of the film industry. The Hays Code, introduced in 1934 was one such outcome. Although the United States Motion Picture Production Code of 1930 came ahead of Hays Code, it was not taken seriously by filmmakers, making it necessary for government authorities to introduce and implement a more comprehensive set of guidelines (Friedrich, 1997). The agency given the responsibility of enforcing the code is commonly referred to as the Breen Office (after administrator Joseph Breen).
In this context, it is interesting to see how the content of popular movies such as Sunset Boulevard (1951) and North by Northwest (1959) were possibly influenced by the code. Both the movies were produced years after the introduction of the code. Hence by the time the movies were conceived and written, the story writer, screenplay writer and the director would have inherently known what is acceptable and what is unacceptable with respect to the Hays Code. There is also documented evidence that the first scripts of the two movie submitted to the Breen Office were not approved immediately. The production team had to modify a few dialogues and change certain aspects of the film that were deemed to violate the code (Harris, 2008).
To take the case of Sunset Boulevard, the story depicts an unusual relationship between a fading Hollywood writer and a former Hollywood leading lady. As the fortunes of both the former stars are fading away, they happen to develop an opportunistic ...
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(“Sunset Boulevard by(Billy Wilder, 1950) and Northwest by( Alfred Essay”, n.d.)
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(Sunset Boulevard By(Billy Wilder, 1950) and Northwest By( Alfred Essay)
“Sunset Boulevard By(Billy Wilder, 1950) and Northwest By( Alfred Essay”, n.d. https://studentshare.net/miscellaneous/404359-sunset-boulevard-bybilly-wilder-1950-and-northwest-by-alfred-hitchcock-1959.
Hitchcock’s works have almost similar themes and techniques and you get that feeling that once you have watched a Hitchcock movie, you seemed to have watched it all. But that’s not the reason why audiences are so hooked with Hitchcock movies. Hitchcock movies deliver threat and suspense effectively even if you don’t know what’s going on.
Film, art and drama students are mostly required to produce such reviews. There are many world renowned publications in this regard as the art of reviewing movies and films is nearly as old as the history of movies themselves. Film-related journals, publications related to art, theater, history, literature and ethnic studies are all included in this context.
At the end of the World War II, the Soviet Union created the Eastern Bloc which comprised Eastern European countries for post war recovery. The US, on the other hand, aided the Western European countries for post war recovery and later formed NATO to contain communism.
Cultural, Other Human Interest Questions Presented in Hitchcock's Movies 6 VI. Artistic and/or Technical Issues in the Works of Hitchcock 7 VII. Place/Role of Hitchcock in Film History- Critics' Judgment 7 VIII. Personal Opinions About Hitchcock 8 Works Cited 9 I.
Hitchcock works with Bernard Herrmann to bring out an authentic score for the film. According to some critics, the use of sound in this film is possibly Bernard Herrmann best work. Psycho is probably one of the few movies where the use of sound receives accolades in equal measure as the director’s work.
This was an incident that would mark the psyche of the young man for the rest of his life. Educated in the Catholic school system, the overweight Alfred grew up a loner and sheltered. The cause of his obesity was never determined, although some believe that it was quite possibly caused by a glandular condition.
Articulate in his cinematographic visualization, Hitchcock renders it with more medium specific vitality and verve. Tony Wendice (Ray Milland) is a former tennis player who marries Margot (Grace Kelly) partly for her money. To please his wife, he has given up tennis and now sells sports equipment.
shows that the motion picture business is manipulated by only a few influential people such were represented in the film as Sheldrake, a studio producer, former film director Max Von Mayerling and a former silent film actress Norma Desmond. The cycle of manipulation starts with