3/15/2024 0 Comments Alfred hitchcock presents blogFor the mystery aficionados in the NYSL membership, this means that it will be easier to find these anthologies (and your favorite authors) both in our online catalog and in the stacks.Īll of our nine volumes of Alfred Hithcock Presents are now located together on Stack 5 under “A” (for Alfred Hitchcock Presents) and all 17 of our MWA annuals are now on Stack 6 under “M” (for Mystery Writers of America). It is similar to waiting for a bomb to go off, because they know something terrible has happened but they do not know what has caused these air bubbles.Have you been snooping around (aka keyword searching) for classic authors of intrigue like Robert Bloch, Fredric Brown, Miriam Allen deFord, or Lillian de la Torre, and noticed an increase in search results? That’s because the Cataloging Department here at the New York Society Library has been improving the records for two important and long-running mystery short story collections, Alfred Hithcock Presents and the Annual Anthology of the Mystery Writers of America. We depict air bubbles floating up from the bottom of the river, leaving the audience in suspense. Our very last box depicts the camera being semi submerged within the stream. We wanted the river to be present, so you have that imagine in the back of your mind for future scenes and know it is somehow important. Hitchcock does this in Psycho, when the ever ominous house is present on top of the hill. We chose to do a split background in our seventh box because we wanted to make the audience aware of the current setting. Similar to our scene, Jesse and Leslie have stumbled upon a giant footprint are alone in the forest. We chose to make the fourth box a close up to establish the feeling of Jesse, much like in Psycho when they zoom in on the unwavering face of Janet Leigh and it becomes apparent to the audience that something terrible has happened. We wanted to make sure the forest appeared ominous, and the best way was to introduce shadows and a feeling of unease. Our third box is a long shot with low key lighting, much like establishing shots in Psycho. This dolly zoom is present in our first box of our storyboard, but with our twist of being at eye level. We knew this was accomplished through a dolly zoom and was a critical identifier. The most iconic scene that immediately came to mind was from “Psycho”, when Sam Loomis is stabbed and falls down the stairs. When choosing our camera angles and lighting, we wanted to make sure that we accurately reflected the horror genre and style of Alfred Hitchcock. This creates suspense by eliminating background factors other elements in the scene that distract from the character’s face but also it may be placed where information would be received by the audience leaving them somewhat in the dark. When a character realizes something or they have a different facial expression, in order to create suspense the camera gets super close to them. The final aspect that Hitchcock uses is close ups. In the super suspenseful scenes the lighting is often minimal and it usually shines from below to cast a shadow on someone’s face to make them look more devious. Another tactic to add suspense Hitchcock uses is low lighting. Specifically in Psycho, we see he uses a dolly zoom as Arbogast falls down the stairs, it makes the audience feel like he’ll never hit the bottom. In this class, we watched Psycho and Rear Window and so in both of those films we can see evidence of his use of long shots to show a full frame of information for the audience to take in. To do so, we added his iconic elements of suspense that he frequently uses in his films. For this project, Sydnye and I decided to transform the movie Bridge to Terabithia into an Alfred Hitchcock film.
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