其實隻是卡着ddl交的一份電影課小問答作業，但是一股氣寫完了覺得寫得還不錯（雖然英語稀碎）就豆瓣備個份吧，應該是沒人會看的????全文我就感覺colors那塊受老師ppt啟發寫得流暢，最前面寫各種shots那塊純屬今天剛學的詞屁也不會分析就瞎寫????最後那段純屬強扯草草收尾了。。。
Prompt如下：
In what ways does Vertigo call attention to the act of looking and the nature of film spectatorship? What is the relationship between reality and fantasy in the film?
正文開始：
Through the usage of various shots and manipulation of colors, Vertigo pushes spectators to actively pay attention to details in the film and fully engage in the dynamics within the characters' relationships. For example, at the beginning of the film when Scottie is tracking Madeleine for the first time, the film employs a tracking shot of Madeleine's car, creating a sense of continuity and suspension and leading spectators to wait for what the mysterious Madeleine will do next after her every movement. Moreover, during Scottie's stalking, the film constantly switches from long shots of Madeleine to close-ups of Scottie. The long shot primarily increases the physical distance between Madeleine and Scottie as well as the spectators, adding mysteriousness to Madeleine's story, and the car window included in the frame also indicates that spectators are following Scottie's point-of-view. This image transgresses the border of the environment where the story happens and the place where spectators watch the film, pulling spectators to entirely indulge in the world in the film. Besides, nearly every Madeleine's turn at a cross or arrival at a destination is followed by a close-up of Scottie's face, from which we can obviously see Scottie's confusion in response to Madeleine's movements. However, after putting themselves in Scottie's shoes by following Scottie's point-of-view, spectators can feel the same degree of confusion after they see the close-ups of Scottie's facial expressions.
Apart from the utilization of diverse shots, Vertigo's adept manipulation of colors reveals the nuanced relationships between Scottie, Miche, and Madeleine. At first, Scottie has a signature color of red, while Miche has one of yellow, and Madeleine has one of green. It is interesting that in the spectrum, yellow is in a position between red and green, foreshadowing that Miche is a barrier between Scottie and Madeleine's relationship. Later, when Miche has detected that Scottie is distracted by Madeleine, she dresses in red and draws a portrait of herself to impress Scottie. Miche's change in colors--from yellow to red--reflects her effortless struggle to win Scottie's heart. Another significant color change appears at the night when Madeleine wakes up at Scottie's house--Scottie is in green while Madeleine is in red. If a person's signature color symbolizes that person's spirit, the swap of colors between the two characters here becomes an implication of exchanging hearts at the night when their love begins. Later, after Madeleine's death, Miche and Scottie both change into blue clothes, indicating both characters' sorrow. While Miche is sad for forever losing Scottie's love, Scottie is sad for losing his beloved Madeleine. The color blue here suggests the end of Miche and Scottie's relationship: they are two parallel lines that will never intersect.
As for the relationship between reality and fantasy, the border between these two worlds becomes vague as the mystery around Madeleine is revealed. One significant moment is that after declaring love for each other, Scottie and Madeleine embrace and kiss passionately on the beach, with each of the two kisses accompanying a rough surf. This surf, however, seems to be a supernatural force that emphasizes the intense but transgressive emotion between Scottie and Madeleine, amplifying the fantasy elements in the film. The sense of fantasy reaches its maximum when Judy, who looks exactly like the dead Madeleine, appears again in Scottie's life, which is hardly possible in the real world, reinforcing that the world in the film is more fantastic than the real world. It is not until the final twist--the revelation of the conspiracy of Madeleine's death--in the film that spectators come back to reality, realizing that Madeleine is not ghosted and that the love between Madeleine, or Judy, and Scottie is not a betrayal to Madeleine's husband.
