Alfred Hitchcock The Birds Analysis

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In the first scene of Alfred Hitchcock’s The Birds, it could be taken as a flirtatious-romance film; however in the opening title sequence of the film, an ominous tone is set—a more accurate portrayal of the film. The first shot after the opening sequence shows the main protagonist, Melanie Daniels (Tippi Hedren), at a street corner with the frame of the camera shooting the busy street scene and the skies above. While the sky is clear, it is only after when Melanie crosses the street that birds are seen, scattering about to make the sky just as congested as the streets below it is.
There are many scenes that juxtapose reality and fantasy in the film, showcasing the actors and their prop in the foreground while it is blatantly clear that the background is a faux image. Despite the fact that Hitchcock could use the actual scenery for the shots—especially since the film is shot on-location. The contrast between real and fake of the film shows that there is a duality in what is natural, and what is unnatural. While using backdrops for certain
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When the two women found the dead seagull at the door in the middle of the night, it is just as the two are about to go to bed. At first glance, it does not seem like much, as it was deemed that the bird could have “lost its way in the dark” ; however, at the realization that “it’s a full moon” means that the bird could see very well—and that the bird wanted to attack the women in the house. The realisation shot that happens between the two, before the camera fades to black, leaves a sinking feeling, as Melanie and Annie share a moment from the situation. In juxtaposing the scene to Cathy’s party scene, the scene effectively ends with an eerie note, allowing the audience to take in the situation for what it is. The sense of dread that the characters feel is transferred to the

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