LOGOGPHOBIA IN THE BIRDS Essay Research Paper
LOGOGPHOBIA IN THE BIRDS Essay, Research Paper
The Birds by Alfred Hitchcock is a stunning is a play where the bulk of the movie is taken up by bird’s-eye shootings of the birds winging over Bodega Bay. When the birds are garnering be aftering to assail there is no music ; there is besides really small conversation, save the shriek of the victims. These anguished ululation and the caw of the birds seem to intermix harmoniously to make a paralyzing blare of sounds that express panic far better than mere words could hold. In the concluding scene there is the most affecting usage of sound and neglect for words whereby the soundtrack fills with bird noises, punctuated by electronic screams.
It is merely logical to now inquire why The Birds terminal on such an unfastened and unsolved note. The decision of the movie? and the decision of what many perceivers regard as the most epic period in Hitchcock? s calling? may turn straight from the misgiving of linguistic communication that is a outstanding motive in The Birds, in which spoken communicating is of small usage and even the hero sounds foolish when called on to joint solutions to the crises of the narrative.
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Indeed, Hitchcock inaugurated his sound-film calling by worrying out loud that duologue might displace & # 8220 ; the technique of the pure gesture picture. & # 8221 ;
& lt ;< p>This inclination veers into logophobia ( fright of overly utilizing address ) in The Birds, which is about the futility of linguistic communication. The more its characters talk among themselves, the more utmost their jobs become. By contrast, birds can non speak, compose, or usage linguistic communication in any manner that a homo could place ; yet they seem of all time more organized and unified in the film. This form accounts for some of the movie? s boldest scenes, as when Melanie and the others make their concluding flight merely when Melanie loses the power of address and effectual motion after a peculiarly traumatic turn with the birds.
On a more sweeping degree, the film? s deficiency of a conventionally resolved stoping signals Hitchcock? s ultimate gesture of desperation over the power non merely of words but of screenwriting and storytelling itself. His narrative is non yet concluded by any traditional criterion: The supporters are still in danger, their adversaries are stronger than of all time, and the emotional relationships of the characters are merely partly and tentatively untangled. Yet at this minute Hitchcock, like Prospero, abjures his powers of thaumaturgy and linguistic communication devising. It is the ensuing ocular and narrative stasis that cryptically allows his characters to fumble their manner toward? if non really to come in? a better universe.