VERTIGO CONDENSED FACT SHEET
Released 1958
ALFRED HITCHCOCK
- Began his career in the silent era of cinema as a screenwriter and art director.
- He was influenced by German Cinema, and employed the Kuleshov effect – an editing
technique that shows the character POV
- He made the first British talking film
- He used lighter film cameras to extend the range of photographic movements and
angle
- Vertigo was thought to be too entertaining for the subject matter it was dealing with
ALFRED HITCHOCK SIGNATURES
- Subjective camera
- Misogyny
- Blonde victims
- Cinematic plot twist
- Innocent man as a victim
- Restricting the action to 1 setting
- Ordinary people thrust into dangerous situations
- The use of staircases as a signal of impending danger
- Themes of voyeurism, identity, duality, descent, taboo sexuality, obsession, and
transformation
- Use of close-ups to show the emotional intensity
- Use of non-linear narratives, that involve ‘reveals’ told in flash-backs or flash-forwards
FILM TECHNIQUES
- Camera movement and the vertigo effect The dolly zoom ‘Vertigo effect’, creates a
disorienting, stretching effect. This visual metaphor represents Scottie’s acrophobia and
conveys his dizziness when looking down
- Colour symbolism Green represents Madeleine’s ghostly, ethereal presence. Red
signifies passion, danger, and Scottie’s spiralling obsession
- Dream sequence The nightmare sequence is surreal and abstract, using animation
and vivid colours to represent Scottie’s fractured psyche, guilt, and fear
- POV shots The film uses Scottie’s POV to make the audience experience his
perspective, particularly during moments of fear and fixation.
- Mirroring and doubling Hitchcock mirrors images and characters to reinforce themes
of duality and identity. The use of reflection shots emphasises the transformation and
illusion central to the plot
- Music and sound Bernard Herrmann’s haunting, romantic score amplifies the film’s
hypnotic and tragic atmosphere, often swelling during pivotal, emotional moments
- Framing and composition Hitchcock’s use of tight framing around Scottie often
makes the audience feel his entrapment and claustrophobia, while wide shots during
vertiginous moments emphasise his fear of heights
- Symbolic imagery The recurring motif of spirals visually represents the film’s themes
of obsession and the cyclical nature of Scottie’s torment
- Tracking shots Of the woman’s face in the opening sequence, creating confusion and
unease as we don’t know what to expect. As Judy and Scottie go up the stairs, making
it feel more dramatic and immersive
- Zoom in On Madeleine’s hair to Carlotta’s hair in the painting. This draws the link for
the audience and so we are being told exactly what Scottie is thinking
- Romantic score When Scottie sees Madeleine, creating a romantic tone and allowing
for the inference that something will happen between them
- Eery score When Scottie begins to follow Madeleine, feels creepy. When Madeleine is
by the Golden Gate, making us feel like something is about to happen
- Cacophony After Madeleine jumps into the river, creating a sense of panic.
- Behaviour Judy turns away from Scottie when he suggests dying her hair, showing
how she disapproves and doesn’t want to do it. Scottie becomes more doting after
Judy’s transformation, showing his attitude towards women and his obsession with
Madeleine.
OPENING SCENE
- J-Cut Before the film starts, creates unease before the film begins and we feel on
edge
, - Tracking shot Of woman’s face, making it the only focus
- Non-centralised extreme close-up shots Of woman’s face, feels obscure,
disorientating and unfinished
- Dolly zoom When Scottie looks down, making us feel dizzy and as though he is
higher than he actually is
- Red colour grading Signals danger
- Hypnotising graphics Coming out of her eyes (Saul Bass), links the dizzing feeling to
the woman
- Man falls to his death Makes his death feel very significant, and we find out it is as
Scottie was let go from the police department following this
- Vertigo sound motif It is a sonic spiral, mimicking the theme of the film
- Romantic score Starts when the woman comes into the frame, creating a sense of
fragility. It’s combined with random loud notes, making it shocking and keeping our
focus
- Score Changes into a minor chord, making it more mysterious. Enhances our
curiosity as to what is going to happen
- Cacophony Of sounds right before the film actually begins. Marks the switch between
the credit and opening scene
- Foley sounds Of them running and jumping. Feels more immersive and maintains our
focus as we feel a part of the action
- Name placement James Stewart’s name is above woman’s mouth, showing his power
over her and representing the general attitude towards women. Kim Novak’s name is
below her eyes, representing the power dynamic. This shows how Scottie’s attraction to
Madeleine is purely visual
- Colouring The criminal is wearing white, creating a feeling of innocence. This
represents how Scottie is portrayed as the culprit for both the other police officer’s
death and Madeleine’s.
- Location It takes place on a roof, allowing for an establishing shot of San Francisco
- Behaviour Woman is blinking, and her eyes are flicking from side to side, she is
acting scared and we can tell that she is uncomfortable and trapped. Scottie is
sweating and shaking, showing us he is scared of heights
SCOTTIE FOLLOWING MADELEINE SCENE
- Shot-reverse-shot Keeps our focus on what Scottie is focusing on
- Driving in a spiral Repeating the vertigo motif of the film
- Iris fade When Scottie starts following her again, we feel like the cycle is endless
- Tracking shot As Madeleine walks away from Scottie, creates a feeling of voyeurism
as we see Scottie’s POV
- Score Repeating score, feels continuous and never-ending. Feels cyclical like the
story
- Foley sounds Of the car door shutting, feels immersive and engages us in the story
- Church organs When we enter a church, mimics the setting of the film
- Colours Contrast between the colourful flowers and Madeleine in a grey suit. She
stands out amongst the flowers, and we feel like she is out of place
- Mirrors We watch Madeleine through a mirror, showing how she isn’t the real
Madeleine
- Behaviour Scottie runs back to his car when Madeleine turns back to the door, shows
his urgency but also how he is trying to hide
- Shadows Scottie watches Madeleine in the museum from the shadows, physically
representing how he is in the dark about information
NIGHTMARE SCENE
- Iris fade To him sleeping. Feels peaceful, a physical representation of ‘calm before
the storm’. To the hospital, signalling a change in time and the consequence of his
descent into madness
- Empty space Next to Scottie on the bed. Feels like he is missing something
- Dolly zoom Of a tunnel, represents the key theme of descending. Symbolises his
descent into madness
- Tracking shot Of Scottie as he wakes up, immersing us in the scene and making it
feel more dramatic
- Colour grading Flashing, creates panic and signals a change in tone. Red and high
exposure – hell
Released 1958
ALFRED HITCHCOCK
- Began his career in the silent era of cinema as a screenwriter and art director.
- He was influenced by German Cinema, and employed the Kuleshov effect – an editing
technique that shows the character POV
- He made the first British talking film
- He used lighter film cameras to extend the range of photographic movements and
angle
- Vertigo was thought to be too entertaining for the subject matter it was dealing with
ALFRED HITCHOCK SIGNATURES
- Subjective camera
- Misogyny
- Blonde victims
- Cinematic plot twist
- Innocent man as a victim
- Restricting the action to 1 setting
- Ordinary people thrust into dangerous situations
- The use of staircases as a signal of impending danger
- Themes of voyeurism, identity, duality, descent, taboo sexuality, obsession, and
transformation
- Use of close-ups to show the emotional intensity
- Use of non-linear narratives, that involve ‘reveals’ told in flash-backs or flash-forwards
FILM TECHNIQUES
- Camera movement and the vertigo effect The dolly zoom ‘Vertigo effect’, creates a
disorienting, stretching effect. This visual metaphor represents Scottie’s acrophobia and
conveys his dizziness when looking down
- Colour symbolism Green represents Madeleine’s ghostly, ethereal presence. Red
signifies passion, danger, and Scottie’s spiralling obsession
- Dream sequence The nightmare sequence is surreal and abstract, using animation
and vivid colours to represent Scottie’s fractured psyche, guilt, and fear
- POV shots The film uses Scottie’s POV to make the audience experience his
perspective, particularly during moments of fear and fixation.
- Mirroring and doubling Hitchcock mirrors images and characters to reinforce themes
of duality and identity. The use of reflection shots emphasises the transformation and
illusion central to the plot
- Music and sound Bernard Herrmann’s haunting, romantic score amplifies the film’s
hypnotic and tragic atmosphere, often swelling during pivotal, emotional moments
- Framing and composition Hitchcock’s use of tight framing around Scottie often
makes the audience feel his entrapment and claustrophobia, while wide shots during
vertiginous moments emphasise his fear of heights
- Symbolic imagery The recurring motif of spirals visually represents the film’s themes
of obsession and the cyclical nature of Scottie’s torment
- Tracking shots Of the woman’s face in the opening sequence, creating confusion and
unease as we don’t know what to expect. As Judy and Scottie go up the stairs, making
it feel more dramatic and immersive
- Zoom in On Madeleine’s hair to Carlotta’s hair in the painting. This draws the link for
the audience and so we are being told exactly what Scottie is thinking
- Romantic score When Scottie sees Madeleine, creating a romantic tone and allowing
for the inference that something will happen between them
- Eery score When Scottie begins to follow Madeleine, feels creepy. When Madeleine is
by the Golden Gate, making us feel like something is about to happen
- Cacophony After Madeleine jumps into the river, creating a sense of panic.
- Behaviour Judy turns away from Scottie when he suggests dying her hair, showing
how she disapproves and doesn’t want to do it. Scottie becomes more doting after
Judy’s transformation, showing his attitude towards women and his obsession with
Madeleine.
OPENING SCENE
- J-Cut Before the film starts, creates unease before the film begins and we feel on
edge
, - Tracking shot Of woman’s face, making it the only focus
- Non-centralised extreme close-up shots Of woman’s face, feels obscure,
disorientating and unfinished
- Dolly zoom When Scottie looks down, making us feel dizzy and as though he is
higher than he actually is
- Red colour grading Signals danger
- Hypnotising graphics Coming out of her eyes (Saul Bass), links the dizzing feeling to
the woman
- Man falls to his death Makes his death feel very significant, and we find out it is as
Scottie was let go from the police department following this
- Vertigo sound motif It is a sonic spiral, mimicking the theme of the film
- Romantic score Starts when the woman comes into the frame, creating a sense of
fragility. It’s combined with random loud notes, making it shocking and keeping our
focus
- Score Changes into a minor chord, making it more mysterious. Enhances our
curiosity as to what is going to happen
- Cacophony Of sounds right before the film actually begins. Marks the switch between
the credit and opening scene
- Foley sounds Of them running and jumping. Feels more immersive and maintains our
focus as we feel a part of the action
- Name placement James Stewart’s name is above woman’s mouth, showing his power
over her and representing the general attitude towards women. Kim Novak’s name is
below her eyes, representing the power dynamic. This shows how Scottie’s attraction to
Madeleine is purely visual
- Colouring The criminal is wearing white, creating a feeling of innocence. This
represents how Scottie is portrayed as the culprit for both the other police officer’s
death and Madeleine’s.
- Location It takes place on a roof, allowing for an establishing shot of San Francisco
- Behaviour Woman is blinking, and her eyes are flicking from side to side, she is
acting scared and we can tell that she is uncomfortable and trapped. Scottie is
sweating and shaking, showing us he is scared of heights
SCOTTIE FOLLOWING MADELEINE SCENE
- Shot-reverse-shot Keeps our focus on what Scottie is focusing on
- Driving in a spiral Repeating the vertigo motif of the film
- Iris fade When Scottie starts following her again, we feel like the cycle is endless
- Tracking shot As Madeleine walks away from Scottie, creates a feeling of voyeurism
as we see Scottie’s POV
- Score Repeating score, feels continuous and never-ending. Feels cyclical like the
story
- Foley sounds Of the car door shutting, feels immersive and engages us in the story
- Church organs When we enter a church, mimics the setting of the film
- Colours Contrast between the colourful flowers and Madeleine in a grey suit. She
stands out amongst the flowers, and we feel like she is out of place
- Mirrors We watch Madeleine through a mirror, showing how she isn’t the real
Madeleine
- Behaviour Scottie runs back to his car when Madeleine turns back to the door, shows
his urgency but also how he is trying to hide
- Shadows Scottie watches Madeleine in the museum from the shadows, physically
representing how he is in the dark about information
NIGHTMARE SCENE
- Iris fade To him sleeping. Feels peaceful, a physical representation of ‘calm before
the storm’. To the hospital, signalling a change in time and the consequence of his
descent into madness
- Empty space Next to Scottie on the bed. Feels like he is missing something
- Dolly zoom Of a tunnel, represents the key theme of descending. Symbolises his
descent into madness
- Tracking shot Of Scottie as he wakes up, immersing us in the scene and making it
feel more dramatic
- Colour grading Flashing, creates panic and signals a change in tone. Red and high
exposure – hell
