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哈尔滨商业大学学期论文场景调度因素对悬念营造的作用希区柯克电影风格简析 学 生 姓 名 舒 丹 指 导 教 师 王立新 专 业 英 语 学 院 外语学院 2010年 12 月 30 日Harbin University of Commerce Team ThesisContribution of Mise-en-Scne Elements to Creation of SuspenseAnalysis of Hitchcocks Film StyleStudent Shu Dan Supervisor Wang Lixin Specialty English Language School School of Foreign Languages December 30, 2010毕业论文任务书姓名：舒丹学院：外语学院班级：06级4班专业：英语毕业论文题目：Contribution of Mise-en-Scne Elements to Creation of SuspenseAnalysis of Hitchcocks Film Style场景调度因素对悬念营造的作用希区柯克电影风格简析立题目的和意义：人们喜欢电影的理由之一是因为电影可以满足其“窥探”的欲望电影总是在“展示”，展示人们好奇的事物，展示人们不明了甚至不曾意识到的自己的、他人的心理等。悬疑电影是众多类型影片中的最乐意强化这种展示作用的一种，它们以设置各式悬疑的方式充分撩拨观众的这种好奇心，激起人们内心的“窥探”这一潜藏而又深刻的欲望。而提及悬疑电影，被誉为“悬念大师”的阿尔弗雷德希区柯克的作品则是最不容忽视的。本文通过研究电影拍摄中场景调度的因素，即布景，取景框，音效与照明，服装与道具的运用等，分析了希区柯克电影中悬念气氛的营造，以求达到让电影观看者在观看悬疑电影的过程中，能够深化对悬疑、恐怖之美的认识，提高对电影的观赏水平，也能够对自身进行探索，对自己有所了解的目的。技术要求与工作计划：技术要求：1 调查语篇，利用多种途径查阅资料，如互联网、图书馆等。2 分析文献，根据导师的指导，从查阅到的大量资料中筛选精品来重点分析。3 在初稿的书写以及多次修改当中深化对题目意义理解。4 通过导师的指导和一系列的分析得出结论，并通过答辩来检验工作的成果。工作计划： 第一步：查找资料，确定论文选题。 第二步：完成关于论文的调研，取得相关资料。 第三步：根据掌握的调研资料，进行系统地分析、整理，找到问题切入点 第四步：阅读与论文相关的书刊，以及国家的各种统计数据，从理性上加以分析。 第五步：组织、整理相关资料，准备论文撰写。 第六步：完成论文写作提纲。 第七步：开始论文写作，形成初稿。 第八步：根据导师提出的论文修改意见，完成论文写作。 第九步：论文定稿、打印、装订、准备答辩。 第十步：毕业论文答辩。时间安排：1.12月20日前拟定出具体论文题目，与指导教师见面商议定题。2.12.月25日将详细提纲交送到导师处。3.12月30日开题。4.1月1日4月初收集资料，提交完整的初稿。5.4月20日中期检查。6.4月21日5月末修改论文。7.6月上旬，定稿，打印装订。指导教师要求：1.严格按照论文技术要求与工作计划，独立完成论文写作任务2.要求工作态度认真、端正3.要求理论联系实际4.论点明确，论据条理清楚，结构合理，文字流畅5.杜绝抄袭（签字） 年 月 日教研室主任意见：（签字） 年 月 日院长意见：（签字） 年 月 日毕业论文审阅评语一、指导教师评语：指导教师签字：年 月 日毕业论文审阅评语二、评阅人评语：评阅人签字：年 月 日毕业论文答辩评语及成绩三、答辩委员会评语：四、毕业论文成绩：专业答辩组负责人签字： 年 月 日五、答辩委员会主任单位： （签章） 答辩委员会主任职称： 答辩委员会主任签字： 年 月 日 哈尔滨商业大学毕业论文 摘 要人类天生具有窥探的欲望，而电影则被认为是容易满足人们窥探欲望的一种艺术形式。在众多影片类型中，悬疑影片对电影的这种功能的体现尤为明显，这也是阿尔弗雷德希区柯克的作品为何相当受人欢迎的原因之一。阿尔弗雷德希区柯克是一位闻名世界的电影导演，尤其擅长于拍摄悬疑惊悚片，素有“悬念大师”之称。作为历史上著名的电影艺术大师，他不但有许多脍炙人口的名片传世，对电影工业也有深刻的影响。本文通过对其作品中场景调度因素的分析，包括布景，取景，音效和照明，服装和道具，得出场景调度因素对于悬疑气氛营造所具有至关重要的作用的结论。关键词：希区柯克；悬疑气氛；场景调度AbstractPeople are born with a desire to peek, and film is thought to be an art form which can easily satisfy this desire. Among different styles of films, suspense films perform such function most obviously, and that is one of the reasons why Alfred Hitchcocks works are so welcome. Alfred Hitchcock is a world-famous film director, who was good at making suspense and thriller films, and is known as the “Master of Suspense”. As a cinema art master in history, he has not only made a lot of works winning universal praise, but also made a profound effect on film industry. This thesis analyzes elements of mise-en-scne in his works, including setting, framing, sound and lighting, and costumes and props, and gets the conclusion that mise-en-scne elements have an effect of vital importance on creation of suspense films. Key Words: Hitchcock; suspense atmosphere; mise-en-scneContents摘 要iAbstractii1 Introduction12Setting32.1 Big Houses as Closed and Limited Space32.2 Rooms with Curtains as Obstacles52.3 Stairs as Path of Rising Anticipation73 Framing93.1 Windows as Holes to Peek through93.2 Mirrors as Reflection of Different Selves113.3 Doors as Obstacles and Connections134 Sound and Lighting154.1 Diegetic Sound as Voice of Soul154.2 Light as Atmosphere Maker164.3 Darkness as Shelter for Evil175 Costumes and Props195.1 Inappropriate Dresses as Trigger of Curiosity195.2 Arrangement of Certain Objects as Carriers of Mystery20Conclusion23Bibliography25Acknowledgements27ii 哈尔滨商业大学毕业论文 1 IntroductionOne of the reasons why people love films is that films can satisfy their desire to “peek”: what films usually do is to “reveal” or “show”. Films know what people are curious about, what people dont understand, or even what they are not aware of in mental world, theirs, or others. Among all the types of films, suspense films are the ones which emphasize this function the most. They set a variety of suspense to arouse audiences curiosity and desire to peek. When we mention suspense films, the works of Alfred Hitchcock, who is regarded as the “Master of Suspense”, should definitely not be ignored.Alfred Hitchcock is a world-famous film director. His suspense films differ from common horrors: besides screaming in the process of watching, people may be in a nervous sense in daily life. In the process of hiding, peeking, and revealing, he makes people think. Psychological matters presented in films become mirrors to audience. That is why Alfred Hitchcock is also called “Freud in Filmdom”. During his art life as long as sixty years, Alfred Hitchcock made more than fifty films, such as Rebecca, Rear Window, and Psycho. You can hardly tell which one is the most classic. These works are characterized by suspense. When searching for such atmosphere, people may find a careful arrangement of elements of mise-en-scne. Proofs lie in all of his works. Rather than spending time on the study of those purely formal cinema questions, such as the shot, editing, and montage, my thesis analyzes creation of suspense in Alfred Hitchcocks films with the study of elements of mise-en-scne, i.e. setting, framing, sound, lighting, costumes, and props. It makes the applied methods, having films seem to be artistic, more concrete and “touchable”, since amount of examples are given. In this thesis, four main chapters are contained. In the first chapter, setting is analyzed with the presentation of big houses, rooms with curtains, and stairs. Big houses are regarded as closed and limited space. Rooms have similar functions, and curtains as obstacles strengthen these functions to some degree. Stairs, as another type of sets, make contribution to creation of suspense as path of rising anticipation, which is different from the former two. In this chapter, Psycho, Rebecca, Dial M for Murder, and Vertigo are given as examples. In the following part, Psycho, Rebecca, Rear Window, and Vertigo are mentioned as examples. Doors are both obstacles and connections; before obstacles shift to connections, audiences curiosity forms, and suspense atmosphere is created. Mirrors serve as reflections of different selves. Concrete discussion will explain how mirrors contribute to creation of suspense. Another kind of frame preferred by the director is window. Windows as holes to peek through have effects on creation of suspense in their own way. In the third chapter, sound of rain in Rear Window and Psycho supports the exposition of sound part. Lighting in The Birds, Dial M for Murder, and Rear Window serves as suspense atmosphere maker. Darkness, as a special effect of lighting, is discussed as a separate section. It plays a role of shelter for evil. As to the last chapter, inappropriate dresses in Psycho and Rebecca indicate Alfred Hitchcocks tendency in costumes: the dresses become triggers of curiosity which is quite important for the formation of suspense. And birds in Psycho and The Birds carry certain mystery so that suspense can exist.The study may help the audience know more about the beauty of suspense and horror in the process of watching the films, and raise the level of appreciation. Whats more, with deeply understanding of films, audience can further the exploration of themselves, knowing more about their inner world.2 SettingWhat is setting? Andrew Lynn gives us a brief answer in his Appreciating Cinema that “setting is the term used to refer to the background of a particular sceneSets may be chosen or designed on the basis of a number of different consideration s to create an expressive space (Lynn 56) ”. As to Alfred Hitchcocks films, what sets are usually chosen? Here are big houses, rooms with curtains, and stairs as objects to analyze with.2.1 Big Houses as Closed and Limited Space In Hitchcocks films, it is not hard to find that many stories happen in big houses. Undoubtedly, he chooses big houses as the spots for reasons. In traditional ideal, houses are thought to be a symbol of security, but Hitchcock tried to challenge such tradition: he would make a big house a place where unknown danger hides. Though these houses are big, even giant, they do constitute limited space. In such limited space, stories that are about to take place, however, still can be unknown and unpredictable. In a few words, what big houses indicate is that in limited place, stories are unlimited. Meanwhile, big houses bring a sense of pressure. It contributes to the creation of tensity and horror. Dozens of examples can easily be found. Sometimes, it is only a villa, like Bates home in Psycho; sometimes, it is a manor, like Manderley in Rebecca. In Psycho, Norman Bates and his mother live in a big gothic house located on a slope near the motel. “Gothic architecture always offers people an afraid and upset hint. (Han Ye, Li Jinming, 88)” Besides, the position of the house, which seems to be just shrouded in the dark clouds, is obviously higher than other objects. When coming into the view of audience for the very first time, the villa makes people feel pressed. What are in such big house must draw peoples attention. But what we can get for a very long time are a womans figure near the window and the quarrel between Norman and his “mother” (which is proved to be a mummy at the end of the movie). What is the woman like? What else are hidden in this big box? How will those hidden things affect the following story? Since these questions are raised, suspense is born.In Rebecca, the opening shot is given to the giant manor, Manderley, in which we can always feel the breath of Rebecca, the dead hostess of Manderley, though we actually never see her. Meanwhile, the domineering housekeeper, Mrs. Danvers, tries to undermine the second Mrs. de Winter, suggesting to her that she will never attain the urbanity and charm that Rebecca possessed. Like the nameless heroine, audience may be frightened by the haunted house, but the manor puts everything in such a closed limited space that people can hardly escape from the ghost of Rebecca.Necessarily, here inserts an additional explanation of a term, “McGuffin”, a key technique of Alfred Hitchcocks films.It might be a Scottish name, taken from a story about two men in a train. One man says “Whats that package up there in the baggage rack?”, and the other answers “Oh thats a McGuffin”. The first one asks “Whats a McGuffin?” “Well”, the other man says, “Its an apparatus for trapping lions in the Scottish Highlands”. The first man says “But there are no lions in the Scottish Highlands”, and the other one answers “Well, then thats no McGuffin!” (Zhao Lihong, 57)Briefly, McGuffin refers to something that seems to exist but in fact nothing at all. In Psycho, the talking mother at beginning is a McGuffin. In Rebecca, the dead hostess is a McGuffin. Both of them exactly do not have concrete appearance, but the audience can actually feel their existence. How can it happen? The big houses offer the possibility: those “McGuffins” hide in such visual places, get protected, live, grow, and haunt people quietly. Wine fermentation requires a hermetic space. In suspense films, big houses do act like a hermetic bottle in which the suspense elements have a great environment to ferment. 2.2 Rooms with Curtains as ObstaclesTending to choose big houses as important setting, Hitchcock has an interest in rooms with curtains. It specifies the scope; meanwhile, it has different effects on the creation of suspense.In Psycho, the murder of Marion is considered as a “classic scene in history (Zhang Ya, 114)” and the bath is undoubtedly a perfect example of room with curtain. The translucent shower curtain is used as an obstacle between Marion and the outside; besides, it is an obstacle between what is going on and the audience. At the beginning, people can see someone is approaching the bathtub, but no one can see clearly who is standing at the other side of the curtain. Naturally, peoples eyes are sticking to the plastic cloth. “Curtain symbolizes a protection only in name, just functioning as a shelter which is too weak to stand attack. It seems to be a defense, but it prevents nothing from evil. (Han Ye, Li Jinming, 89)” What can such a “useless” curtain do? After it is drawn, what will happen to Marion? So, before the curtain is drawn, suspense is founded and maintained, and audiences anticipation grows. However, when the curtain is drawn aside suddenly, all that audience can see is a figure of a woman with curly hair. At this moment, audience are frightened, and their early desire is satisfied also. That is the function of the shower curtain: to be an obstacle between Marion and danger and that between truth and audience as well. It is easy to frighten the audience by revealing the murder scene all of a sudden after a long time of covering. The process from hiding to revealing is the process that suspense raises.Another proof is found in Rebecca. Finding someone is standing by the window of the west room, the heroine is led there by curiosity. In the room, many curtains draw audiences attention. A curtain divides the room into several parts; some prevent the room from sunshine; some others form the background to the shadow of the outside trees. Why is the room decorated with so many curtains? What secrets are hidden in it? People must doubt; suspense derives form it. It is in that room that Rebecca, the former Mrs. de Winter, once lived. From a comb to a night skirt, the ghostly Mrs. Danvers introduces almost every details of the room to the heroine. The scene mentioned above may be regarded as one of the climaxes of the whole film. The great effect is due to the choice of the set, a room with curtains. The room is a separate space; the curtains keep the room further away from the outside world. Before the heavy curtains are drawn, it is dark in the room; however, when those curtains are not shelters any more, wind, lifting those cloths, easily gives audience a feel that the room is haunted. In Dial M for Murder, the main set is the Wendices living room. Also, it is a room with curtains. Swann, the murderer, hides behind the curtain as Tony, a man who wants to kill his own wife, told him. The room becomes a dangerous trap. While audience know a murderer is right near the window, Margot, the heroine, doesnt notice the only obstacle between her and an evil is just a curtain. It is not difficult to imagine how terrible it is to breathe the air in the same space with a person who will end your life.Though this film is characterized by the process of brilliant reasoning, it is cannot be ignored that the setting does contribute to the development of the sense of tensity, which is quite important for the creation of suspense. While big houses contribute to the creation of suspense by bringing audience the feel of pressure, rooms with curtains are applied by Hitchcock as containers of danger and horror. In those narrower boxes, the density of suspense is effectively strengthened. 2.3 Stairs as Path of Rising AnticipationStairs should not be known simply as a collection of steps; they do play important roles in suspense films. “The instability, extension, and revolvement of stairs bring mysteryIt is easy to create air full of suspense. (Zhao Lihong, 59)” When standing at an end of a stair, which is part of those steps, everything at the other end is unknown. Since a character goes along the stairs, what is at the other end is nearer and nearer, and suspense becomes stronger and stronger. To be general, stairs are path of rising anticipation, which is often used by directors to make audience concentrated. Alfred Hitchcock seems to know it quite well. In Psycho, one of the most shocking scenes is presented when Milton, the detective, enters the house. He climbs the long stair very slowly, not knowing what may be about to happen, neither do the audience. What is at the other end of the stair? Will the detective find the truth? What is going to happen to him? While Milton is approaching the higher floor, audiences curiosity is aroused. In other words, peoples anticipation is rising along the intentionally chosen set, the stair. As soon as he gets to the top of the stair, the detective “looks around, the door opening a little. Then what reflected on the wall of stairs are a big shadow of an old lady and a waving knife (Zhao Lihong 59)”. At this moment, audiences attention reaches the peak. It is the stair that leads both the detective and audience to a new danger. Here proves that the stair plays a role as path of rising anticipation.A more classic example is in Vertigo. The stairs of the bell tower in the church mainly appear for twice. The first time is when John, an ex-detective, follows Madeleine, Mrs. Elster, to the top of the bell tower. Since audience know that John has acrophobia, i.e. a fear of heights, the process of climbing the bell tower along the stairs becomes tense. Why does Madelei