Podcasts about alfred hitchcock's vertigo

"Two Together, Are Always Going Somewhere." Alfred Hitchcock's Vertigo (1958) On this week's episode of WatchThis W/RickRamos, Ibrahim & I sit down to talk Alfred Hitchcock's masterpiece, Vertigo, a film that has only grown in power and importance since first playing in theaters in 1958. Hitchcock's examination of obsession, fear, and uncertainty continues to be cited on Lists of the Greatest Films Ever Made. It was a hell of a time for Ibrahim & I to sit down and discuss Hitchcock, James Stewart, Kim Novack, and one of the great Bernard Herrmann scores. Take a a listen and let us know what you think. Questions, Comments, Complaints, & Suggestions can be directed to gondoramos@yahoo.com. Many Thanks!

This week the bois feel the wrath of Jack's Oscar bet win as they watch Alfred Hitchcock's Vertigo.

Do lessons have a plot? Should classes have a story line? How do lesson plans resemble movie scripts? We speak with teacher trainer extraordinaire Diederik Van Gorp, about story arcs in lessons and how these affect our transitions form one activity to the next.Tracy: Hello, everyone. Welcome to our podcast today. Let me introduce our special guest, Diederik.Diederik Van Gorp: Hello.Tracy: Welcome.Diederik: Thank you very much.Ross Thorburn: Just to check because I don’t think we said last time, it’s Diederik Van Gorp, right?Diederik: Yes.Ross: Just in case there's many other Diederiks out there. [laughs]Diederik: I haven't met them yet.[laughter][crosstalk]Diederik: The dutch pronunciation would be Diederik Van Gorp. But I anglicized it slightly, I think automatically. When I was teaching children in China, it very quickly just became D.Ross: I remember you saying that to me, "Just call me D."[laughter]Diederik: The first class, you introduce yourself and I just write a letter D. They thought it was hilarious because this person just has one letter as a name.[laughter]Diederik: They're very cute.Ross: Diederik, you wanted to talk about transitions, which I think is really interesting. One, because there's not very much about it online, just as you pointed out. Two, actually when I started preparing for this, I also got to this point where I was like, "What does he mean?"Diederik: I wondered as well. At one point, I was talking to a colleague, he's like, "The transitions were very smooth in this lesson, from one stage to the next." It was very hard for me to pinpoint exactly what that was, trying to find an article, you go online, or go to your books. There's almost nothing there. I guess now, they're creating the...[crosstalk]Diederik: One of the big things in the lesson is context. There's one stage of the lesson, you're going to the next stage. It can be very abrupt, means that the learners have no idea where did this come from. Good transition is, you either refer back, for example to the context, or you point to something that's going to happen later.If you go from a nice lexis activity to a reading task and then all of a sudden there's this seven, eight words, students are matching them, you ask concept‑check questions, you drill it maybe, all of a sudden you say, "Read the text. Answer the questions." Where did this come from? It's a very clear instruction, there's no confusion possible but it's very mechanical.Linking that activity to...these words were actually in the text. By quickly pointing that out or a listing, or, "Do you remember earlier on?" "Ah, yeah, yeah, we're going to read something about your friend Bob." It gives it coherence. There's something else that I quite like, if a lesson is a narrative, if a lesson is a story, then it becomes very coherent. I like it when it comes full circle.I wrote for a while, writing dialogues for short movie clips to learn English. Basically, one of the things I learned there was, it's not just the movie that needs a beginning, middle, end. Even a dialogue needs a beginning, middle, end and there needs to be some kind of conflict.If you look at a lesson, because they argue that the human mind is a bit wired for beginning, middle, end. For a lesson, it seems to be similar. You need a beginning, set it up well. You need to the meat, the most important part of the movie, most important part of the lesson. Then, some kind of closure at the end.Very often, lessons fall flat because teachers are great at setting it up but it falls flat at the end because they run out of time and becomes very abrupt the end. That's why, watching a movie ‑‑ the bad guy got killed and that's the end of the movie ‑‑ we don't see them being happily ever after, getting married and all those things.Ross: Interesting. I remember watching Alfred Hitchcock's "Vertigo" a while ago. It does end like that. I think the woman jumps off this tower and dies. Sorry, if you've not seen it.[laughter]Diederik: Spoiler alert.[crosstalk]Ross: ...and dies. Literally, the credits come on and you're still in this shock. You're like, "Oh, that's it?" Like you say, movies always, nowadays, we have this scene.Diederik: Somehow, it links back to the beginning but there will be the change. With a lesson, that could be a nice idea to approach a lesson. If you fit your stages in there, finish on the high somehow.Tracy: Do you know there is an activity, at least we played it in Chinese a lot when I was a kid. This kind of my understanding of transition in the class. You say Chinese [Chinese] .Ross: Idiom.Diederik: Idiom?Tracy: Yeah.Diederik: The four‑character idiom?Tracy: Yeah, the four‑character idiom. The next person would have to use the last words from the last idiom and then next, the beginning of the next idiom. That's hard picture like a lesson transition.Diederik: That's interesting. The last thing you do needs to be the first thing of the next stage. Something like that?Tracy: Yes, something like that.Ross: Your example earlier, Diederik, of that read‑this‑answer‑the‑questions, it's almost so abrupt you can imagine people going, "Did I hear that right?" Whereas if you say you have that who could remember these eight words? Can you see these words anywhere here? Oh, one of them's in the title. Where do you think the other set will be? Great. Now, read this and answer the questions."Tracy: Another thing ‑‑ it might be related to transition ‑‑ is about the difficulty level. If you look at a lesson, it's a flow. Maybe at the very beginning something a little bit easier or less challenging. Then it's getting maybe a little bit more challenging. At the end, they can see how much they have improved.Diederik: Then you release the pressure again a little bit at the end test, what have you learned or something?Tracy: Yeah.Diederik: When you introduce the language in a traditionally staged lesson, maybe in a movie where the conflict is introduced, we have an obstacle to overcome, it's this language point.Ross: Is it Joseph Campbell? Is that the person? This idea of there's a story arc, there's only one story that basically people ever had...[crosstalk]Diederik: Yeah, or just a variation on the theme.[crosstalk]Ross: One great story but a lot of it. Certainly my favorite lessons that I've taught to start off with some...We're doing one like an activity. I think it's on my diploma at the beginning asking people, "Oh, I'm doing this. Are you interested in coming to this thing tonight?"People turning down this invitation and at the end of the class, you go back and do the same thing again but, like the story, the characters have changed. Except in this, the language the students are using have changed. That's the difference, that's the development that's happened which is like a story.I'm just so into this movie analogy now. You got me thinking of this great Chinese movie I love called "Shower" or Xǐ zǎo in Chinese. At some point in the movie ‑‑ it's some people who are in a bath house in Beijing ‑‑ it cuts to 50 years ago in this desert area of China. After five minutes, you start thinking, "Is this a mistake? Is there a problem with the DVD?"It creates this expectation. Eventually, it cuts back. It's like the back story. The main character says, "That was your mother." This reminded me of doing teacher training years ago, doing an activity for writing lesson, getting them to do something stupid like, "Give them a dart board but no darts. Then ask them who's the best darts player."I remember one of the trainees say, "Why are we doing this? What's the point?" One of the other ones goes, "There will be a point. You'll find out in a minute."I think it's almost that same thing, isn't it? Like with the movies, it's creating this expectation. Sometimes, I don't know what's going on here but if I have belief in this teacher, this trainer, I know there's going to be a point.Diederik: It must be there for a reason, but they must have been disappointed so many times.[laughter][music]Diederik: Just thinking of something related to transitions is, one of the main scales that a teacher needs is working with published materials, either course book or whatever that has been given to them. That teaching is going from one exercise to the next. "Are you finished?" "Yes." "Now, do exercise three. Do exercise four."The teacher actually can see the flow of that lesson and just verbalizes it almost, "Yes, now we're going to put that into practice." Maybe transition are a bit more important than you think, to bring something that's dead on the page, bring it alive, give it purpose.Tracy: When we're doing research about this topic before, not really much about it, do you think it's because transition in class, it doesn't affect the lesson a lot?Diederik: Maybe for the feeling, for motivation of the students, maybe it does a little bit more than we think it does.Ross: I think this also comes down to this idea that if your classes feel like a succession of unrelated activities, it's going to be very easy to give up as a learner. It's going to be very challenging to maintain motivation for a long period, isn't it? Like, "Why are we doing this? What's the point?"Diederik: Another gap filled.[laughter]Diederik: There's another one. I just remembered this. When I started out as a teacher trainer, I was explaining to new students, if one stage does not go well, no problem. Every stage is like a new spring, you can start anew.A stage that feels flat, the energy is drained, it was boring, whatever went on. Every stage is a new opportunity to re‑energize the students, project your voice. Transitions can actually spike the energy again.[music]Ross: I want to talk about what I actually thought you meant by transitions, which is completely different. What I think we spoke about there was teaching for adults or maybe teenagers but probably not like six‑year‑olds.What I actually ended up writing about, taking notes on, was going from one activity to another with some very young learners, almost like this classroom management idea for kindergarten students. As an example, the chaos of some six‑year‑olds with bags coming in to a classroom...Diederik: Almost a routine, in this part of the room, this happens, this is the storytelling corner, here we do the book work.Ross: This is obviously potential, "All right. Everyone, move to the front of the room!" Then there's this, you can just imagine a car leaving a cloud of dust, things are flying out.Diederik: The transition then would be sometimes counting, maybe sometimes a song.Ross: Exactly. The idea that if you have those in place and you trained your students on them then all those moving from this part of the room to that part of the room or from a writing or a coloring activity, to another, are smoother and safer.Diederik: Different cues, basically. That's similar to teaching adults. Some of the automatic things you do ‑‑ like they worked on their own and you let them compare around as in pairs ‑‑ there's this moment they do it automatically. They're also transitions, I guess.Ross: The commonality between the two of those is that if you do a good job of them, they should become so natural that the longer you work with the students, almost the less instructions you need to give.Diederik: I've seen a beautiful thing once where the student was so used to the techniques, because this person just came every month to every class of every training teacher, that if the teacher was about to give the handouts, while giving the instructions, she would give an act...[laughter]Diederik: It was like, "Oh, instruction before handout." She wouldn't say it. It's like she knew it.Ross: Did you go by that point about it being logical and making sense? It reminds me of...Tracy, when you and I were in India a few years ago, we booked these cinema tickets. It was some beautiful old cinema in Jaipur. We bought these tickets. I think we assumed it was in English or at least it would have English subtitles, but it didn't. It was all in Hindi and had Hindi subtitles.Because of the genre of the film, which was like Arnold Schwarzenegger‑esque action film, we were able to follow and understand the whole thing. It made complete sense even though we couldn't really understand a word in the whole movie. I think that's similar, isn't it?Diederik: Yes, it's very similar. I remember watching Disney movies on the small screen in a long‑distance bus in Turkey. It was all in Turkish. I could understand everything, I think "Kung Fu Panda" and I'm indeed [inaudible 12:56] . It's like, yeah, this is the moment that the obstacle is introduced.Ross: It's almost like that you think of the brain being hardwired, the stories are hardwired for a language classes, something, right? They will know the beginning, middle, end.Diederik: When people really hate a movie, very often, it's an art‑type movie that they accidentally watched. A lot of people do like it but they're not the mainstream.Ross: Or it doesn't wrap up at the end, there's no ending to it.Diederik: Like the Coen Brothers movies, [inaudible 13:20] at the end.Ross: That almost reminds me of another point. I think Donald Freeman had an article. It was called "From Teacher to Teacher Trainer." He talks about, how can you tell if your training was successful?He said, people smiling, high‑fiving each other at the classroom doesn't mean they learned anything. People leaving confused and disappointed doesn't mean they didn't learn anything. That's almost like the Coen Brothers just because at the end of the movie, "What on earth was that about?" It doesn't mean it was a bad movie.Diederik: It makes you think maybe.Ross: Those are movies that I love where you're still thinking about what could the ending mean weeks or months after.Diederik: Let's say an action movie, the immediate response is satisfaction but you want to remember it, you want to talk about it more.[music]Tracy: Thanks very much for listening. Thank you so much, Diederik, for coming to our podcast.Diederik: My pleasure. Thank you for having me.Tracy: All right. See you next time.Diederik: See you.

Austin James talks about Alfred Hitchcock's "VERTIGO" and why this could be the best movie ever made.

This week Mary and Sarah delve further into the subject of fashion and fetish with two films about shopping and its connection to control; Alfred Hitchcock's Vertigo (1958) and Pretty Woman (1990) directed by Gary Marshall.

Episode 55 we talk doubles with Jordan Peele's "Us" (2019) and Alfred Hitchcock's "Vertigo" (1958). Sound clips in the beginning are with Jordan Peele talking about the duality of his film and role of scissors, and then a BFI interview with actress Kim Novak about her role in "Vertigo". Jeff and Rebecca are joined by first time guest Tom Hush (@mounthushmore)! Tom is co-host of the WGN + podcast NO COAST CINEMA and is a producer on the The Nick Digilio show on WGN. Next episodes theme and movies to be discussed are TBD. But we may having a special Twin Peaks episode coming up in May, stay tuned!

For its third episode, Cineversary pays homage to one of the greatest movies of all time: Alfred Hitchcock's "Vertigo," originally released in 1958. Host Erik Martin interviews USC film professor and world-renowned Hitchcock film scholar Drew Casper to get at the heart of what makes "Vertigo" so memorable. They discuss why the picture is so revered 60 years later, ways it inspired countless filmmakers, what it can teach us today, and more. Learn more about the Cineversary podcast at www.tinyurl.com/cineversarypodcast, like us on Facebook at www.facebook.com/cineversarypodcast, and email show host Erik Martin with a comment, question or suggestion at cineversegroup@gmail.com.

It's another edition of Midday at the Movies, our monthly look at trends in the film industry, and some the new movies lighting up local screens. We're joined again by our regular movie-mavens: the Maryland Film Festival's founding director, Jed Dietz, is with Tom in the studio. And Washington Post film critic Ann Hornaday joins them on the line from Toronto, Canada, where she is reporting on the 2018 Toronto Film Festival.The conversation today picks up on a theme Ann explores in a recent Washington post column, in which she identifies 23 of the best films released since 2000. She notes that the industry's so-called ----Canon---- -- the widely accepted list of the greatest films of all time -- consists largely of older, classic films like Orson Welles' Citizen Kane or Alfred Hitchcock's Vertigo, reflecting pinnacles of the movie-making craft through the 20th Century, but not much beyond. A host of groundbreaking films made since 2000, Ann suggests, should be considered worthy of the same consideration. See if you agree.And among the films spotlighted this month -- including the ongoing festival of Stanley Kubrick's complete works at the Parkway -- Ann and Jed cite two recent favorites: director Jeremiah Zagar's We the Animals, an affecting story of three young brothers growing up buffeted by their loving but emotionally volatile parents; and director Jesse Peretz's touching comedy, Juliet Naked, based on the novel by Nick Hornby, in which a woman stuck in a long-term relationship with an obsessive fan of obscure American alt-rocker Tucker Crowe, winds up meeting -- and falling in love with -- the elusive rocker himself.

Hosts Josh and Jamie and special guest Anya Stanley take on violent, psychotic NYC breakdowns with a double feature of Martin Scorsese's TAXI DRIVER (1976)and Abel Ferrera's notorious video nasty THE DRILLER KILLER (1979). Next week's episode is a patron-exclusive bonus episode on Alfred Hitchcock's VERTIGO (1958) and Brian De Palma's BODY DOUBLE (1984), you can get access to it (and all past + future bonus episodes) by subscribing to our show over at www.patreon.com/sleazoidspodcast. Intro // 00:00-06:51 TAXI DRIVER // 06:51-32:58 DRILLER KILLER // 32:58-51:45 Outro // 51:45-53:46 Josh's Twitter: https://twitter.com/thejoshl Josh's Letterboxd: https://letterboxd.com/thejoshl/ Jamie's Twitter: https://twitter.com/jamiemilleracas Jamie's Letterboxd: https://letterboxd.com/jamiemiller/

Tim, Jamie, and Guy travel back 60 years to discuss Alfred Hitchcock's Vertigo and see if it is deserving of all the accolades.  Show’s Twitter: https://twitter.com/RewindRF4RM Show’s Facebook: https://www.facebook.com/PleaseRewindRF4RM RF4RM Website: http://rf4rm.com  Jamie’s Twitter: https://twitter.com/BatRaider3960  Guy’s Twitter: twitter.com/GalacticScumbag  Guy’s Instagram: www.instagram.com/galactic_scumbag Tim’s Personal Twitter: twitter.com/TimothyRooney2  Tim’s Instagram: www.instagram.com/trooney1012/ Tim’s Facebook Page: www.facebook.com/ThroughTheLensProduction?fref=ts  Tim’s Youtube Page: www.youtube.com/channel/UCi7NCwl_…TQ?view_as=public

Alfred Hitchcock is one of the most iconic directors in all of cinematic history. His films provoke, thrill, and engage audiences to this day. Today Clarke and guest Rebekah McKendry will dive into one of Hitch's most controversial classics VERTIGO.

Join your hosts Rob Galluzzo, Elric Kane, Rebekah McKendry and Ryan Turek as they discuss all the latest horrors! First up, in books, Rob recommends SLASH OF THE TITANS: THE ROAD TO FREDDY VS JASON and Lois Duncan's original I KNOW WHAT YOU DID LAST SUMMER. Movie wise, Elric revisited THE BLACKCOAT'S DAUGHTER and UNCLE JOHN. Bekah rewatched Alfred Hitchcock's VERTIGO, and checked out the new Hulu series DIMENSION 404. Ryan delved into Vestron's WISHMASTER Bul-Ray set. Him and Rob also bared witness to the craziness that is CATHY'S CURSE. Speaking of crazy, Rob upgraded to Blu with THEY'RE PLAYING WITH FIRE, and teases the upcoming PHANTASM box set. Then we welcome to the show special guests Andre Gower and Ryan Lambert, Sean and Rudy from THE MONSTER SQUAD! We ask them about their experiences making that film as child actors, the ever growing cult following of the flick, and what the convention circuit is like. Then, each of us builds our own "monster squad!" We select 5 monsters we'd love to see team up, and then we pit them against our 5 choices for heroes that would make up our own personalized "Monster Squad!" Kick back, relax and join the conversation!

Now for the $64,000 question... what in God's name did ANDREW think of Vertigo when in the CINEMA IMMERSION TANK? Check out his thoughts here on Alfred Hitchcock's flawless (?, we'll see about that) masterpiece VERTIGO (featuring music in this episode by Bernard Herrmann, under fair use)

"It's because I look like her... it's not very complimentary." We now come to a close with the Cinema Immersion Tank for this year. It's been quite a ride, but now we must, sadly, bring it to some sort of end. And, hey, how about THE ultimate James Stewart Christmas movie, right? That story of love and redemption and being a pillar of the community and uh.... no, wait, this isn't George Bailey! Damn it! Oh well, we'll just have to stick with Vertigo, we guess. In this special two-part Cinema Immersion Tank, Jack AND Andrew take the 5 day a viewing dives into what is sitting in this decade as the #1 film of all time in the BFI Sight & Sound poll of critics. But here's a better question: does it hold up to scrutiny in 2016? What does it have to say about the female point of view? Or how we construct our own types of movies in our life experiences? More on this and more in this SPOILER-heavy review of Alfred Hitchcock's 1958 masterpiece VERTIGO (music by Bernard Herrmann, this podcast by the Wages of Cinema) wagesofcinema@gmail.com Follow us on social media: https://facebook.com/wagesofcinema https://twitter.com/wagesofcinema https://instagram.com/wagesofcinema https://tumblr.com/wagesofcinema

This week, Zach goes to dizzying heights to examine Alfred Hitchcock's Vertigo. One of Alfred Hitchcock’s greatest cinematic achievements, Vertigo, celebrates its 50th anniversary with an all-new 2-disc Special Edition DVD! Set in San Francisco, Vertigo creates a dizzying web of mistaken identity, passion and murder after an acrophobic detective (James Stewart) rescues a mysterious blonde (Kim Novak) from the bay. Recognized for excellence in AFI’s 100 Years...100 Movies, this dreamlike thriller from the Master of Suspense is as entertaining today as it was 50 years ago. Featuring revealing bonus features and a digitally remastered picture, Vertigo is a “great motion picture that demands multiple viewings” (Leonard Maltin’s Classic Movie Guide). Show your thanks to Major Spoilers for this episode by making a $5.00 per month recurring donation. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week, Zach goes to dizzying heights to examine Alfred Hitchcock's Vertigo. One of Alfred Hitchcock’s greatest cinematic achievements, Vertigo, celebrates its 50th anniversary with an all-new 2-disc Special Edition DVD! Set in San Francisco, Vertigo creates a dizzying web of mistaken identity, passion and murder after an acrophobic detective (James Stewart) rescues a mysterious blonde (Kim Novak) from the bay. Recognized for excellence in AFI’s 100 Years...100 Movies, this dreamlike thriller from the Master of Suspense is as entertaining today as it was 50 years ago. Featuring revealing bonus features and a digitally remastered picture, Vertigo is a “great motion picture that demands multiple viewings” (Leonard Maltin’s Classic Movie Guide). Show your thanks to Major Spoilers for this episode by making a $5.00 per month recurring donation. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

This week on the An Hour with Your Ex podcast Mark makes Mel dress up like an old girlfriend of his. We discuss Alfred Hitchcock's Vertigo. Is Jimmy Stewart crazy? Is Kim Novak a great actress? How cool is Midge? We also talk about obsession and answer your questions. Next week it's House of Cards.

What would you rather hear us review? Step Up 4: Miami Heat? Or a selection of films chosen by our beloved band of listeners? Well, I hope it's the latter as this week's Failed Critics Review is a FAILED LISTENERS SPECIAL! Sadly Gerry's own short-sightedness means he's missing this week, but in his absense Steve, James, and Owen review films chosen by our listeners - including this week's main review; Alfred Hitchcock's Vertigo. Coming up later this week we have a Failed Listeners Triple Bill podcast as well - but for now, relax and listen to our leanest, meanest podcast to-date at an athletic 45 minutes long. See acast.com/privacy for privacy and opt-out information.

We discuss Alfred Hitchcock's VERTIGO (1958), about a private detective who falls for a woman who may be possessed by a ghost. Starring James Stewart, Kim Novak and Barbara Bel Geddes.