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Essay / Research Paper Abstract
The writer discusses the fact that this
particular sense of filmatic space is not restricted only to technical or visual effects, but rather, it also involves the vast social, psychological and political uses of space,
as well.
These two films effectively capture a sense of space -- both indoors and outdoors, expansive and claustrophobic -- that is not only thematically explored but also significantly exploited by the directors. Bibliography lists 7 sources
Page Count:
6 pages (~225 words per page)
File: LM1_TLCspace1.doc
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Unformatted sample text from the term paper:
definitely a place for the lighthearted variety; however, films such as Vertigo and Citizen Kane serve to utilize ones senses in a completely different manner. These two films effectively
capture a sense of space -- both indoors and outdoors, expansive and claustrophobic -- that is not only thematically explored but also significantly exploited by the directors. It is
important for one to recognize the fact that this particular sense of filmatic space is not restricted only to technical or visual effects, but rather, it also involves the vast
social, psychological and political uses of space, as well. I. VERTIGO The sense of space in Vertigo is distinctly claustrophobic yet at the same time expansive, in that Hitchcock
utilized his characters irrational fear of heights amidst a backdrop of San Franciscan sprawl, effectively creating a dichotomy of confinement and scope at the same time. This employment of
larger-than-life location as a means by which to augment the James Stewarts acrophobia even more helps to create a sense of space that both confuses and intrigues. "With Hitchcocks
most blatant blend of his two favorite subjects, unreasonable fear and sexual obsession, Vertigo presented Stewart with the challenge of going sheer, creepy nutso while retaining some shreds of audience
sympathy" (Strauss 06F). Hitchcock was famous for employing the aspect of location as a means by which to portray his desired sense of space within the film. Linked with
this artistic impression was that of his blatant interest in irrational fear and sexual obsession, both of which help to solidify an immensely exceptional concept of psychological and exterior space.
By analyzing Vertigo, one can easily ascertain the connection between these two arguably diverse components as the vehicle by which Hitchcock first expands and then constricts his sense of
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