1. Vertigo Analysis - Holly Sutcliffe
Discuss how thriller codes and conventions are used in “Vertigo” to represent characters as morally
ambiguous and socially or emotionally unstable.
The film “Vertigo”, directed by Alfred Hitchcock, is well-known for paving the way in the world of
thriller codes and conventions, famous for Hitchcock’s pioneering of “The Vertigo Effect” which was
used for the first time in the opening sequence of the film. The film is based around the central
themes of moral ambiguity and the emotional instability of ones mind. These themes are not
uncommon amongst recent films of the thriller genre, but at the time of Vertigo's composition it was
a lot more rare, especially to the extent that Hitchcock so cleverly and expertly conveys it. As a
result of this, the thriller codes and conventions that Hitchcock chooses in order to effectively
convey these central themes has made the film one of the more iconic thriller films of its time.
The concept of moral ambiguity is brought up over the course of the film in many forms, by both
the lead characters; Scotty, crossed between investigating madeline and stalking her, and
Madeline herself being more obvious morally ambiguous character revealing to the audience
towards the end of the film that she is not in fact who the audience thought she was but is an
actress by the name of Judy. Using the theme of moral ambiguity can lead to a very twisted,
mysterious aura which carries throughout the film and Hitchcock’s expert use of motifs in the form
of colour representation, as well as camera shots and angles illustrates this ambiguity to the
audience.
This idea of moral ambiguity is first conveyed clearly to us in the famous opening sequence with
swirling colours. The colour contrast of green and red is first shown here, and this contrast then
goes on to feature throughout the rest of the film with green dresses and red ties, green cars, even
room lighting being tinged more red or more green depending on the atmosphere of the scene.
The colour red is very often used in thriller films in order to provoke a feeling of danger or horror,
and this tends to a feeling of fear The introduction of this in the opening sequence is purposely
placed by Hitchcock to subconsciously instil in the minds of the audience this concept, and the
repetition of these binary opposites of good/bad and safe/dangerous represented by these colour
contrasts resultantly remind the viewer throughout the film that not all is what it seems.
Another method Hitchcock uses to illustrate the moral ambiguity of the two main characters is
through the use of camera shots and angles. For example, a scene in the middle of the film shows
“Madeline” walking through a graveyard with scotty following behind her. This seemingly “strictly
professional” investigation of Madeline’s whereabouts is converted by Hitchcock through a use of
odd camera shots and angles into a Voyeuristic stalking sequence where the audience is shown all
the angles she is being observed, and thus Hitchcock cleverly illustrates Scotty’s ulterior motive,
his absolute obsession over the woman that he is supposedly only investigating for her husband.
Although the idea of moral ambiguity presents itself often throughout the film, arguably the most
dominant theme illustrated to the audience is the concept of the protagonist Scotty (portrayed by
James Stewart) going insane, crazed with his love for the female lead, Madeline/Judy (portrayed
by Kim Novak). This crazy obsession with his friends wife ultimately leads to her death, with her
accidentally falling out of a tower from the exact position that she had faked her death earlier on,
leading to a dramatic realisation by Scotty. This is the climax of Scotty’s mental instability, the film
having slowly but up his mental tension to this point. Hitchcock uses a variety of techniques to
show this instability and mental turmoil suffered by Scotty, in particular an effective use of
symbolism and motifs.
The use of motifs is repeated throughout the film by Hitchcock to represent emotional turmoil. In
particular, one of the main motifs he uses to suggest mental instability is the repeated appearance
of a violent, stormy ocean. The ocean appears twice in the film, both at times where Scotty was
facing extreme emotional turmoil. A stormy ocean is seen as dangerous, powerful, almost scary as
it dashes against the cliff and rocks, and this is extremely symbolic of Scotty’s mind being stormy,

2. rough, tumultuous. Another motif that he uses to illustrate Scotty’s inner distress is repeated use of
tunnels, or tunnel effects, within his scenes. Often at times in the film where the plot focuses on
Scotty’s mental instability there will be a tunnel present, or through using the “vertigo effect” he will
create a “tunnelling” impression on the audience. Tunnels are often used in thriller films of this
genre to represent a passage to death or danger, so by using this motif Hitchcock creates fear and
worry amongst the audience on where the passage, the tunnel, may lead to and what effect that
will have on the characters involved.
The alternative method Hitchcock uses to convey the mental instability of Scotty is through an
effective use of camera shots and angles. Similar to moral ambiguity, the idea of mental instability
can be conveyed through unusual camera angles, such as the well-known dutch tilt that is used
frequently in thriller films. However, Hitchcock also uses a large number of point of view shots,
particularly in scenes where Scotty is in a car, following Madeline/Judy. This emphasises the
stalking atmosphere of the scene, and as a result prompts the audience to be spooked, freaked by
his animalistic craze over this woman.
Through the techniques described, as well as an expert manipulation of the films dialogue and
direction, Hitchcock cleverly and effectively conveys both the emotional turbulence of the lead
characters and the moral ambiguity portrayed by both Scotty and Madeleine/Judy in the film.