Alfred Hitchcock Stereotypes

Alfred Hitchcock Stereotypes

Double Sided: Identity, Perception, Gender Roles

Masterful tension. Psychological suspense. Strong female roles. Dark shadows.

Premeditated cameo appearances. These characteristics depict every Alfred Hitchcock film ever produced. Known for his unique style of psychologically disturbing thrillers, with a tendency to engage his audience in voyeurism, he quickly became a household name after the release of his first sound film in 1929. Hitchcock's career only gained velocity from there; producing a myriad of successful films in his fifty year span of filmmaking. Arguably the most notable came in 1958, Vertigo; a film chock full of dynamic characters, impressive visual effects, and most importantly, overlooked motifs of self identity, external ... Show more content on Helpwriting.net ...The colors are demonstrated in such a way that symbolize the double personality that is played by Judy through her impersonation in the first half of the film as well as during the second half of the film when the truth is revealed to first the audience and later to Scottie. First seen in the restaurant with the prolonged profile shot of Madeleine and later with the green wardrobe choices of both Judy and Scottie, it becomes clear that the color green is representative of the double life each of these characters play. Scottie is perceived by Midge from his "good old college days" (53) only as a retired detective who suffers from severe acrophobia. In contrast, the audience views Scottie as a possessive and controlling psychopath after the reveal that he has fallen in love with an imposter who helped his old friend stage a murder. Following his mental breakdown and hospitalization, his obsession of sex and domination over women intensifies and reveals to the audience the two–sided persona that Scottie has likely been living with his whole life. Once again, Hitchcock presents his audience with a chance to acknowledge the multiple sides of their own personalities and how these differences parallel the bidirectional aspects of both Judy and Scottie's

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