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This is an exceedingly intimate film in many ways. What cinematic elements stand out to you that convey that intimacy?

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What do you think about the theatre scene in which the men wear women's clothes and dance around. How does the news that the French have retaken their fort, and the subsequent singing of the French national anthem, affect our understanding of that scene?

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While the film is about French prisoners in a German camp (some Russians are also there), the protagonists sometimes break into English. What is the significance of this?

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There's a lot to discuss in this movie, but I think one of the main themes deals with interpersonal relationships. Rauffenstein values de Boeldieu because they are from the same social class—despite that they fight on opposing sides of the war. What are your thoughts about the ways in which relationships are shown in the film?

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What do you make of the very start of the film? The juxtaposed shots of the sheep and the workers constitute a form of editing called montage editing, taken from early Soviet cinema, and is meant to make a point. What point are we meant to take away?

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I found it interesting how, in the first initial shots and some throughout the film, the color pallets used by the director appear purposely illuminated - if I recall correctly. I feel like adding this touch, by slightly manipulating the lighting sources when filming, lends to the significance of the title. But I also feel like its a bit of foreshadowing toward the film's end - where Jonathan meets Augustine's sister and she connects the dots for him, etc. Adding to a comment mentioned in class, I too agree that her sister parallels Jonathon well. They both are afraid of dogs and collectors of memories, etc. But, I also feel like the trauma she faced during the war, and is still coping with, is reflected in how she lives in the present. She isolated herself in the wheat field, away from many elements of civilization. She never rejoined...

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What's the significance of the title? How might the filmmaking reflect it?

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Catherine brings up a good point that the relationship between Alex and Jonathan creates some levity in the film. What else breaks the tension?

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The pictures are just beautiful! Master of colour combination and rule of thirds. Also the very distinct personality between the two young men made the sad film not so sad. (Catherine)

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The dialogue in this film was intentionally rapid, and there were several ad-libs from Cary Grant (at one point he refers to someone named Archie Leach, which was Grant's real name). How did the speed of the dialogue affect your understanding of the story?

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Why do you think Harriet interferes with Ethel's relationship with Gene? What is the significance there?

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I've been thinking a lot about the roses associated with Mrs. Frazier (Billie Burke) today. Is there anything significant about that link? What do you think of Mrs. Frazier in general?

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This scene shows a very different side of Harry Caul. How do the various elements we've learned about help to lend meaning to the various transformations going on here

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I saw this video trending today and thought it was topical to our discussion of Hitchcock. He does a great job of breaking down the shot types and camera angles and how this director uses them so uniquely.

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Hey everyone, I've been thinking a lot about Rear Window and Jeff's connection to various objects. He is bound to the wheelchair, he uses the telephoto lens to spy on his neighbours, and he uses flashbulbs to deter Thorwald—all things resulting from his career that he loves so much. And yet, these things don't protect him physically. Do you think the film is trying to give us a lesson in morality, or are these things incidental?

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What do you make of the costuming in this film? Ties and handbags give away the affair between Mr. Chow's wife and Mrs. Chen's husband, but I'm also interested in the particular way Mrs. Chen (Maggie Cheung) dresses. Why might she style her hair differently in the final scenes?

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Some of you noted that the music in this film was curious and highly affective. I'm interested in your thoughts!

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In the mood for love - The End (Quizas, quizas, quizas - Nat King Cole)

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This is the scene in which Etheline walks out of frame. I didn't realize that the frame is already established when she walks into it! How can we read that?

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Since most of this film has really precise framing, what do we make of this scene? What's Mordecai's significance?

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Hi, i think in the scene needle in the hay there was a sudden shift of memory from present to past when they were young till they become mature and also they frame the scene in the mirror frame with extreme change of lightening and also shows the emotions when all family know about him.

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The "Needle in the Hay" sequence (series of shots) is perhaps one of the most fascinating in the entire film. What do you think makes it stand out? What is the effect when the bathroom scene cuts to the hospital scene?

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The Royal Tenenbaums- Needle In The Hay (better version)

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thanks to everyone that takes part in this film. and especially elliott smith, such a great artist.

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What do you make of the book motif used throughout the film, from the use of a narrator to filling the frame with books written by the characters to using scenes in which the characters read other characters' books?

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Another example of Toland's photography: a still from The Best Years of our Lives, which depicts three servicemen getting used to being home after WWII.

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Another example of Toland's photography: a still from The Best Years of our Lives, which depicts three servicemen getting used to being home after WWII.

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Here are the three soldiers in a plane on their way back to the US. Note how they fill the frame almost entirely, and are pretty tightly packed into it. What similarities do you see between this photography and that in Citizen Kane?

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What do you make of the juxtaposition of Thatcher and Bernstein in Kane's life?

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What is significant about Welles' use of space and Toland's deep focus in CK? Here is an example to jog your memories:

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A few of you have already mentioned Welles' use of transitions to move between shots. Here's my favourite, which is pretty seamless.
What other transitions did you notice?

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http://www.filmspectrum.org/ Disclaimer: The intent of all Film Spectrum uploads is to educate curious minds about how various film techniques can be used effectively, thus driving up interest in these films and boosting their legacy to the point that the original copyright holders stand to benefit in the long run.

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Hi everyone,

This is a forum we will use for our thoughts, ideas, and other course-related discussion. Since we have only one lecture per week, this site will be a valuable way for you to learn course materials outside of lecture time.

Check this regularly and participate. I expect you to respond to posts — mine and others' — and this will count toward your participation grade.