Shock Corridor

Film is primarily a visual form, no matter how loud Michael Bay feels he has to make it, and the best of them speak in images - not just in a beautifully composed, or sumptuously rendered single image, but through an interplay of multiple, linked images.  Strangers on a Train (Alfred Hitchcock, 1951) does just that and if you'll indulge me I'll tell why I think this and how I think it goes about it. I'll do this using my  (scant)  powers of semiotic understanding on the opening 2 minutes and 17 seconds  of this pant-wettingly lovely offering from Mr. Hitchcock , which arguably shows us very little but, hopefully just as arguable tells us everything because that's the plan. (Assuming you watched the link or have seen it before) Fantastic, isn't it? Now let me ruin it - I mean explore it. Let's explore it. Ok, a real quick introduction to semiotics as I understand it. Semiotics is interested in signs, not what they mean necessarily but how they mean

Hoping to put a couple of Hitchcock post out soon what with all the chatter and film restoring and retrospection and stuff. In the mean time here are a few of my favourite images of the man himself. Noted for mystery, thrillers and horror, he had a terrific sense of humour. I like that. Catch ye, J

For me a really good title sequence sets up a film. It builds anticipation as it sets the pace and mood for what is to come. A great number of films like to deliver the titles over an establishing set piece, but when a title sequence is done right - offt! So here are some title sequences I like because...they do that...thing...I just said. Monsters Inc. (Pete Doctor, 2001) Old school. Catch Me If You Can (Steven Speilberg, 2002) All style and surface, just like the character. Cape Fear (Martin Scorsese, 1991) Saul Bass #1: Atmosphere Spartacus (Stanley Kubrick, 1960) Saul Bass #2: The film in four minutes. Once Upon a Time in the West (Sergio Leone, 1968) Very well known and deservedly so I'd say. Arguably gets right to the action but just as arguable is that it serves as a terrific introduction to Sergio Leone. I include it as this was his first real film intended for a mass western (geographical, not genre) audience and I'd say