In an eminent criticism on Hitchcock’s work, Penelope Houston differed that the novel The Birds emanates most of its threats from the electronic soundtrack to cover the fact that the birds aren’t really performing anything. But the comment of Ms. Houston is rather annoying in its significance that Hitchcock’s performance of film sound is a poor relation to his handling of image. The emphasis of Hitchcock on the effect of sound is shown by his foregoing background music for the first time in The Birds since The Lifeboat twenty years earlier. The Birds’ sound is also the most stylized soundtrack of Hitchcock as he had composed it from the consistent interplay of natural sounds and the birds’ noises generated from computer (“Life Magazine” 7).
There is a development of all types of cross-references in The Birds: the electronic origin of the birds’ sound makes them sound like machines. The human beings produce such sounds like birds, specifically in the shriek of children during the attacks; and sometimes the machines sound like people or birds. The aural swaps in the film match with its general visual exchanges. Collectively, the film provides a depressing picture of humanity as ensnared by the forces over control. The world described appears as the more hostile and impersonal one due to the mechanical nature of soundtrack. The nature of film is made as the one issue raised by the auditoria continuities of human beings. The closed style of Hitchcock has always stressed that the mechanical control and The Birds is the most perfunctory of all his films. However, Hitchcock further stresses his association with birds. The budge from Melanie’s viewpoint at the beginning of a gas-station sequence to the last aerial shot is quite a factual budge from the birds’ eye sight. Finally, the director gains the control as the birds are being under control. His last shot is a complex of thirty-two pieces of this film and a dozen of simulated and natural bird sounds. Therefore, the silence ascribed by Hitchcock to birds is a final indication of the director’s management over his art, his characters and viewers.
Paglia, Camille. The Birds. London, BFI Publishing (BFI Film Classics), 1998. Print.
In this text, the author of Sexual Personae Camille Paglia draws together the aesthetic technical and mythical qualities of Alfred Hitchcock using in his film The Birds with describing gender and familial correlations. The issue that Paglia draws in Hitchcock’s film The Birds is the fundamental inconsistency including the “male’s demonic malevolence” and the destruction that it inflicts when various birds’ species unite spontaneously in the subsequent attacks on the residents of a small fishing village on San Francisco coast named Bodega Bay. Moreover, the major character is acted not by a skilled actress, but by a model Tippi Hedren. Her effect in the film as a stationary image of the female sexuality is remarkable. In her position of an actress, she displays ambivalence to the uttered word or any other actors’ tool that is non-visual (Paglia 64). Paglia denotes that for Hitchcock Tippi Hedren is a crucial heroine stating that on the basis of her evaluation she has the character’s appearance obsessed by the director. Paglia comments on the significance of every actor and actress including Rod Taylor, Jessica Tandy, Lydia Brenner and Suzanne Pleshette.
In her review of the film The Birds, Paglia proposes that her devotion to the film is not consequent from any emotional wager of the plot. Her major interest seems to be intellectual or professional. It behooves her to support the movie and performance of Hedren as both to have the significance for her decisive methodology, with its dependence on snap-shot opinions of the preferred types of personality. The general approach for Paglia is that regardless of the artistic merits the film The Birds provides an occasion to riff on general themes, most illustrating the convergence of the nature confusion with a gradient of female ability. Paglia outlines the domestication and captivity as the underlying concerns of this film, indicating that for men the house is both a female trap and a safe haven. Therefore, the long assault series as in Brenner’s home demonstrates the uncertain nature of predicament for any female character gaining the dreaded drawback of a man, Rod Tailor Mitch, home and keeping the female’s domain (Paglia 65).
Badmington, Neil. Hitchcock’s Magic. Cardiff: University of Wales Press, 2011. Print.
The work of Neil Badmington give the answers to such questions concerning the impact and the continuing appeal of Hitchcock’s work in The Birds regarding this particular movie; shows the way how it sustains and enlists the desire; holds our attention by constantly taking something away from us. He figures that the tendency of viewers while constantly watching and revisiting the context is increasing due to the fact that there is something left to see and to know. Neil indicates that the decades after the death of Alfred Hitchcock, his work skill triggers some critical compliments and fervent responses. Badmington takes a new perspective of Hitchcock’s stem of work in figuring out the underlying aspect that makes the influence of The Birds so lasting and pervasive. Going into the analytic details of The Birds, Neil contributes innovatively to the unending debate of the master of suspense (Badmington 110)
In his new book Hitchcock’s Magic, Neil applies the poststructuralist theories of Jacques Derrida and Roland Barthes. He considers the issue with the psychoanalytic and biographical outlooks which have analyzed Hitchcock’s films and put under a dispute instead of the textual implication.
Wrobel, Bill. The Birds: A Herrmannesque Score. Web. Retrieved from
The subsequent is a rundown depictive analysis of an attempt to create Herrmannesque’s score for The Birds, Hitchcock’s thriller made in1963. Generally, the film lacks the music score. The collaboration of Herrmann was only as a supervisor of sound effects. To create a broader audience’s involvement, music was solely required for this movie. In a more metaphysic and fanciful perspective, the prejudiced reality of Herrmann was far above the actual body of works he had managed to show in this prospect. Probably, Herrmann didn’t make and did not select distinctively with a strong objective while creating the score, an alternate version of reality (the distinctive probability) (Wrobel 74).
The mental and psychic energy flowed into other diversions and turned up there. The vigor behind the credible score of The Birds cannot be inhibited. The apparent score of the movie would have no external reality if it merely vestige in Herrmann’s mind. He had to be willing and strongly purposed to establish and give an original objective to the sufficient energy to manifest at any alternate physical authenticity. Putting into consideration the official reality, it is possible to deduce that the reality is that The Birds movie was indeed scored in full by Herrmann with the route not taken. In fact, if there was a poignant charge behind the intention to score The Birds, then it would hold a greater sense of legitimacy. Furthermore, there would be other feasible certainties where The Birds wouldn’t have been produced and, of course, other probable realities where there was no manifestation of Bernard Herrmann’s entity, and no manifestation of Hitchcock’s entity of the planet (Wrobel 75).
Leo, Vince. “The Birds (1963)”. Horror-Drama: Film Review, 2007. Print.
In his article, Vince Leo visualizes that one of the best features of the creatures ever made is the work of Hitchcock the film The Birds film, possibly rivaled only by the jaws; although the style of the film does not depend on the latter one. However, it is entirely not realistic, the design of effects is still rationally practical even by some current discriminating special impacts of the crowd. It still directs the deliverance of the preferable deal of suspense and horrible tension. The picture of the birds continues to linger in the minds of viewers whenever they get the sight of a large flock of birds. Spoiled and rich Tippi Hedren, acting in the role of Melanie Daniels, bumps into an appealing man, Mitch, in a search of the lovebirds for his little sister (Leo 48).
Melanie attempts to decidedly surprise the man with the birds but he discovers that she is going to leave these birds with him because she herself has to travel to Bodega Bay. While coming there, Vincent states that the awkward incidents occur while the birds in the town start assailing people without any reason. The aspect of being a true master in his craft is an element demonstrated by Alfred Hitchcock in his film The Birds; even though it is perhaps the ultimate factor of his enormous masterworks. One of the most remarkable features of this film is Hitchcock’s capability to create terror and tension without utilizing any conventional score. Vincent figures out that the current viewers will grow intolerant, or they will speculate the matter why the film appears as a fiction and horror movie. He lulls into the completely distinctive story where everything appears to happen as planned until the nature itself takes its control over everything. Finally, Hitchcock wipes away everything with his unexpected ending of the movie that you have not predicted (Leo 48).