Everyone’s a Psychopath in “Shutter Island”

Shutter Island--or should it be called "DEception"? Oh, crap. I have to write a blog entry about this film. This is my eighth Film Noir blog entry. I used up all four of my allotted "skips." Now, I have to write this blog entry, about a film I'd rather forget--but more on that later. Ok, so,... Continue Reading →

Investigate Yourself: Categorizing Leonard Shelby from Christopher Nolan’s “Memento”

"I have to believe in a world outside my own mind. I have to believe that my actions still have meaning, even if I can't remember them. I have to believe that when my eyes are closed, the world's still there. Do I believe the world's still there? Is it still out there?... Yeah. We... Continue Reading →

David Lynch’s Use of Two Oldies in “Blue Velvet” (or, “How David Lynch Ruins Every Roy Orbison Song for Me”)

When I watched David Lynch's film Mulholland Drive for my Elements of Film class, I noticed that the song sung in Club Silencio sounded familiar. As it turns out, the song--"Llorando"--is the Spanish version of "Crying" by Roy Orbison. 15 years earlier, Lynch used another Roy Orbison song--"In Dreams"--in his film Blue Velvet. Lynch, like Hitchcock, never does... Continue Reading →

“Do You Believe in Telepathy?”: The Psychological Connection Between Charlotte and her uncle Charlie in Hitchcock’s “Shadow of a Doubt”

In Hitchcock's film, Shadow of a Doubt, Charlotte (commonly nicknamed “Charlie,” but to avoid confusion in this entry I'll call her Charlotte) feels a very close connection with her Uncle Charlie, who lives across the country. This blog entry will focus on how the movie portrays this relationship and how the ending of the film... Continue Reading →

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