SPIRALS IN VERTIGO

"For me, the cinema is not a slice of life, but a piece of cake. " Alfred Hitchcock

Throughout Vertigo there is a reoccuring motif of Spirals, starting from spirals in the opening credits, to even having spirals on the movie posters. The spiral is the structuring motiff of the film, the key, is the spiral. Like I previouslt said, we see it in the titles, the way the policeman falls, the twist of hair, the tower, the steps, the journey in the car, even the repeated music. The music is endless and consists of cords that are never resolved or melodic.
Why the spiral? The spiral is an unstable alternative to the circle, as if the centre won't hold, suggesting that the film has no centre.

 

VERTIGO

RELEASED: 1958
DIRECTOR: ALFRED HITCHCOCK

LEAD ROLES:  James Stewart and Kim Novak

TYPE OF WORK:  Full-length film

GENRE: Mystery/Suspense

LANGUAGE:  English

PRODCUTION TIME & PLACE ·  1957; Los Angeles

RELAEASE DATE: 1958

SETTING: San Francisco

PROTAGONIST: Scottie Ferguson

MAJOR CONFLICT: Scottie cannot accept the death of Madeleine and struggles to re-create her in another woman who, unbeknownst to him, was behind Madeleine’s death.

RISING ACTION: Scottie gradually descends into madness as he falls in love with Madeleine, loses her to an apparent suicide, and then attempts to recreate her in Judy.

climax · The world of illusion Scottie has created for himself is permanently shattered when he discovers that Judy had duped him by playing the role of Madeleine and faking a suicide as part of a plot to murder the real Madeleine Elster.

falling action ·  In an effort to free himself from the acrophobia and romantic delusions that led him to this point, Scottie drags Judy/Madeleine to the scene of the crime at the top of the bell tower; Judy confesses to the crime and falls to her death when she is startled by the shadowy figure of a nun.

THEMES: Death as both attractive and frightening; the impenetrable nature of appearances; the folly of romantic delusion

MOTIFS: Power and freedom; tunnels and corridors; bouquets of flowers, spirals

SYMBOLS: Sequoia trees; the color green

RASHOMON

How does Rashomon represent National Identity?

The events in Rashomon are set in the 12th century, but used to showcase some very contemporary questions about the basic nature of humans. I believe that Rashomon has a lot of links and similarities to Japan at the time of production and represents Japanese nation identity in plenty of ways.

Firstly, it could be argued that the opening scenes of wreckage and damage of the Shinto temple due to the storm are representative of the devastation which followed World War II. Furthermore, the dialogue of the characters could be intended to reflect the mood in the country after the defeat. For example; the repetition of phrases like "I don't understand" might have connotations of the shock of surrendering and being invaded, when surrender was recognised as repulsive and abhorrent in Japanese culture.

A further influence the occupation had on Japan was an emerging youth culture which embraced American ideas, but also exaggerated parts of the culture and behaved in ways thought to be hedonistic. The Bandit could be intended to represent the youth movement because he acts only on hedonism and does not consider consequences: for instance, "I knew I had to have her…" is the reason he gives for raping vulnerable The Wife. He has no social restraints and in his narrative in particular the film language has connotations of him being an adventurer, for example the scenes of him running through the forest are accompanied by music which could be associated with dramatic moments in action films. Therefore he may be intended to represent the ideals taken up by the youth culture during the occupation. Furthermore, the rape could represent the exploitation and corruption brought about after the War during the American occupation, with reports of rape by occupying American soldiers on Japanese women still fresh in the memory of the national audience.

Regardless of his actions, in the Bandits version of events (especially in comparison to the Wifes' story) he is portrayed as more likeable character, almost to the point of becoming the protagonist. For example during the dramatic sword fight with the husband the audience find themselves supporting the Bandit.

The husband could be intended to represent the older and more traditional culture, which could suggest that the young are represented as destroying the old values and ideologies. Furthermore, the bandit is self-destructive himself; he does not try to avoid being hanged in the scene in the prison courtyard, and although he acts only on what he wants, he is unsatisfied. In the woodcutter's second narrative he admits to the Wife, "I took you, but now I want you all the more." This may suggest that the youth movement is also being represented as self destructive. This idea is re-enforced in the final scene when a baby is discovered in the Temple, which could be seen to represent new life, new beginnings and new Japan. One man is willing to steal from it and leave it to die and another is willing to nurture it and look after it as he heads away from the Shinto gate that represents the old traditional values of Japan and heads in a new direction.

The narrative structure leaves no solid conclusion, only relative truth as there is no real protagonist which leaves doubt as to who the good guys/bad guys are.Which is a similar idea to the relationship between Japan and America, where it is open to interpretation who the 'enemy' is - especially in regards to Hiroshima where Japan had almost completely lost the war but were still attacked with the Atom Bomb and devastated the entire country for many years to come.