Films are an important part to mass media. They are used for various different purposes such as entertainment and education. It is also an art form that has been developed over the years. Alfred Hitchcock is a major influence to film and is looked as one of the greatest directors of all time.
Hitchcock was born on August 13, 1899 in London, England. In 1924, Hitchcock received the opportunity to go to Germany by Michael Balcon as an apprentice and contribute to other directors' films. "It was here that he fell under the spell of German expressionism, whilst working as art director on F.W. Murnau’s Der Ietzte Mann" ("filmsdefrance.com") and it was evident in all of his films. Being inspired by other filmmakers and their techniques such as "Eisenstein and his theories on montage" ("filmsdefrance.com") and how to use the camera in a subjective way, he decided to begin creating his own films. His first few attempts were a failure. But by 1926, he got the gist of things and his first successful film was created.
"Alfred Hitchcock was one of only a handful of directors able to make a the successful transition from the silent era of cinema." (Collinson) He had a successful career in the UK as a director with films such as The Lodger: A Story of the London Fog, Blackmail and The 39 Steps. By the time Hitchcock moved to Hollywood in 1940, he already had an incredible repertoire of work under his belt. Hitchcock made his first American movie in 1940 entitled Rebecca. "With that film, Hitchcock's Hollywood career took off." (Lewis 259) To no surprise, it won Best Picture at the 1940 Academy Awards. He proceeded to make popular films for years.
Hitchcock liked to be challenged technically. He had a great understanding and knowledge of moviemaking and even wrote the production section for the Encyclopedia Britannica. (Flint, B.) He liked to test his boundaries and from that came his technical innovations to cinematography. He was praised by Francois Truffaunt, a leading director of France's New Wave. He said that "Hitchcock is almost unique in being able to film directly, that is, without resorting to explanatory dialogue, such intimate emotions as suspicion, jealousy, desire and envy." This statement may have seemed great but detractors thought Hitchcock's films lacked substance and significance. They actually hit the needle on the head. Hitchcock didn't care as much about the plot as he did about the technical aspects of his films. The story didn't matter to him. He actually preferred less complicated dialogue. "If your story is confusing or requires a lot of memorization, you're never going to get suspense out of it." (Bays) It wasn't about what was happening. It was more so about how can he visually get what is happening across to others on film. A famous quote from Hitchcock was "..what is drama, after all, but life with the dull bits cut out..." The dull bits referred to anything unnecessary and irrelevant. He wanted to "create an experience for the spectator. Often, the least important element in a Hitchcock film is the plot." ("filmsdefrance.com")
One of the first notable techniques Hitchcock used was a concept called "Macguffin". He didn't create it or name it. He gave the credit to one of his screenwriters, Angus McPhail. However, he popularized it. It was introduced in his 1935 film The 39 Steps. The Macguffin was a "device around which the plot revolves but which is not actually central to the film." ("filmsdefrance.com") It was a "plot contrivance that really didn't matter." (Hitchcocked!). "It's an object to keep the story going." (Hitchcocked!) It's what drives the plot but isn't made out to be a big deal. It can also be referred to as bait because it metaphorically reels the spectator in. "The McGuffin is essentially something that the entire story is built around and yet has no real relevance." ("Essortment")
In 1948, Hitchcock's first film in color, Rope, was released. It seemed to have almost no cuts and be a smooth, long running film. However, that is not the case. There is a total number of ten cuts. Hitchcock challenged himself to making a film that was on-going with almost no cuts or elapsed time. It is a difficult task to do without it being play-like. The main reason why a film couldn't be done in one take was because 10 minutes was the maximum length of a reel at the time. ("Enlightenment - The Experience Festival "
"I undertook 'Rope' as as stunt; that's the only way I can describe it. I really don't know how I came to indulge in it. The stage drama was played out in the actual time of the story; the action is continuous from the moment the curtain goes up until it comes down again. I asked myself whether it was technically possible to film it in the same way. As an experiment, Rope may be forgiven. [sic]"
--Alfred Hitchcock ("Hitchcock and Me")
This technique was very innovative and has been used to "hide" edits. Steven Soderbergh's film Erin Brockovich used this technique at a point in the movie thanks to Alfred Hitchcock. Another reason why Rope is praised for its innovations is because it was shot on a single set. (aside from the opening scene.)
In 1958, Hitchcock released a film called Vertigo. The dolly zoom effect which was first developed by Irmin Roberts, was used by Hitchcock in this film and was popularized. It was innovative in the sense that it represented a "falling-away-from-oneself feeling". Because Hitchcock used this technique in Vertigo (and later on in Marnie), other filmmakers began using it. An example of a more current film that has used this technique is in The Lion King when Simba realizes there is a stampede coming and the camera zooms in on him but the background pulls away dramatically. ("Television Tropes & Idioms")
Hitchcock didn't like his films to be predictable. That is what caused suspense. According the documentary, The Men Who Made The Movies: Alfred Hitchcock, he wanted the viewer to have some sort of background information. He gave the example of a bomb unexpectedly going off after a five minute dialogue about baseball. He said the audience would be shocked for ten seconds. Then he changed the scenario and said showing the audience the bomb under the table earlier in the scene with a five minute stamp will make their reaction different. Instead of being shocked after the dialogue, he wants the anticipation of the bomb going off to be high. That's the difference between something being suspenseful and something being surprising. He wants the audience to wish they could help whoever is having the dialogue and talk to the screen as if the characters could hear them. "But, one important factor; if you work the audience up to this degree, that bomb must never go off and kill anyone. Otherwise, they will be extremely angry with you."(documentary) It gives the audience an experience. “He would show the audience thing that the main character may not be aware of. Since you already feel for the characters, you're thinking 'Guy! Dude! Look!'” (Hitchcocked!)
How many times have films had villains where they were sinister, dark and easy to hate? Those traits are way too common and are repetitive. Hitchcock liked to make the villains in his films likable. He "suggested that in our times, evil can intrude anywhere...wearing any mask." (The Men Who Made the Movies: Alfred Hitchcock) He doesn't like to portray the villain as it would be portrayed fictionally. They shouldn't be scary. They should be charming and attractive. That played a large part in why Hitchcock's films were so suspenseful. He says that "evil and good are getting closer together today. That the hero is no longer tall with a perfect profile...and the villain doesn't kick the dog anymore. He is a charmer." (The Men Who Made the Movies: Alfred Hitchcock)
Hitchcock liked the revisit themes in his films and one of those themes voyeurism. "Hitchcock found really interesting ways to represent the pleasure of watching other people." (Hitchcocked!) There was a lot of spying going on in his films. "There's a titillation factor in observing and watching what other people are doing and knowing something that they don't know you know." (Hitchcocked!) This statement makes so much sense and is very true. Hitchcock wasn't just pulling things out of the sky. He knew that society was actually like this. People liked to know things without others knowing they know. He just made it so that this concept would come off very creepy. He made an entire film based off this idea. "Rear Window essentially is a film about voyeurism."(Hitchcocked!)
Hitchcocked!, a documentary on Alfred Hitchcock was released in 2006. Many modern day directors praised his work and share how his work influenced them. They gave their insight on Hitchcock's film techniques and concepts. Keith Gordon stated "I can't think of a director who's had more influence on modern filmmaking than Hitchcock. When you see a horror or suspense film now, it's almost impossible that it hasn't been influence by Hitchcock." That is an extremely bold statement. Coming from a successful modern day horror film director, this statement holds a lot of value. "If I had to pick one filmmaker that has probably informed most of my filmmaking, it would probably be Alfred Hitchcock." This was said by Victor Salva. It's amazing to see other filmmakers and directors not be afraid to give credit and say who they were inspired by. To have a documentary about Alfred Hitchcock with other accomplished directors commentating shows how relevant he was to filmmaking. Ernest Dickerson did the most and stated that Hitchcock defined modern film grammar.
Other than films, Hitchcock dove into the medium of television. He was one of the first film directors to make use of television when it first became popular. Hitchcock was the host and producer of a television series entitled Alfred Hitchcock Presents which lasted 10 years; from 1955 to 1965. ("TV.com") It featured dramas, thrillers and mysteries. He also appeared in a book series called Alfred Hitchcock and the Three Investigators until his death.
“Alfred Hitchcock is one of the most popular directors of all time because of his ability to keep the pace and suspense through an entire movie” ("United States History") When making films, Hitchcock always had the viewer in mind. He tried to find ways to engage the audience in a not so obvious way. He made the audience feel emotionally connected to the characters because of his film techniques. He wasn't just an ordinary filmmaker; he was a visionary and is responsible for being an innovator and pioneer in suspense and psychological drama. He isn’t known as the “master of suspense” for nothing. “He was an entertainer in a popular medium who was also expressing himself. The fact that he had dark things to express made his work all the more interesting and all the more unique.” (Hitchcocked!) His innovative techniques and concepts are still being used to this day.
Works Cited
"Alfred Hitchcock ." filmsdefrance.com. N.p., 2009. Web. 28 Oct 2010.
Bays , Jeff. "How to turn your boring movie into a Hitchcock thriller... ." Leading With Personality. N.p., Dec 2007. Web. 28 Oct 2010.
Collinson, Gary. "Silent Master: The Early Films of Alfred Hitchcock." Flickering Myth. 08 Feb 2010. Web. 28 Oct 2010.
"Rope film - Innovations: Encyclopedia II - Rope film - Innovations." Enlightenment - The Experience Festival . N.p., n.d. Web. 28 Oct 2010.
"Alfred Hitchcock film techniques." Essortment. N.p., n.d. Web. 30 Oct 2010.
Flint, B., Peter. "Alfred Hitchcock Dies; A Master of Suspense." The New York Times on the Web. The New York Times Company, 30 Apr 1980. Web. 28 Oct 2010.
"Alfred Hitchcock’s Technical Wonder, “Rope”." Hitchcock and Me. N.p., 30 Sep 2010. Web. 30 Oct 2010.
Hitchcocked!. Dir. Jeffrey Schwarz." Automat Pictures: 2006, Film.
Lewis, Jon. American Film A History Film. Ed. Peter Simon. New York and London: W.W. Norton & Company, 2008. Print.
The Men Who Made the Movies: Alfred Hitchcock. Dir. Richard Schickel." The American Cinematheque: 1973, Film.
"Alfred Hitchcock Presents." TV.com. CBS, n.d. Web. 29 Oct 2010.
"Alfred Hitchcock." United States History. N.p., n.d. Web. 30 Oct 2010.
"Vertigo Effect." Television Tropes & Idioms. N.p., n.d. Web. 30 Oct 2010.
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