- 8 hours ago
فسيلة - transplant
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هي مكتبة رقمية تحتوي علي آلاف الفيديوهات العربية في جميع المجالات
It is a digital library containing thousands of Arabic videos in all fields.
قوائم تشغيل فسيلة
https://www.dailymotion.com/fasela/playlists
Category
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LearningTranscript
00:00music
00:01music
00:02music
00:03music
00:04Don't worry
00:05I'm still dead
00:06But I have to spend this time underground, God willing.
00:09We won't be a light guest for the people here.
00:11I am Ahmed Mohamed Mahmoud
00:13My name is very common and frequently used.
00:15But seriously
00:17I'm the last person you'd want to be with.
00:19Your names are similar
00:24I am almost responsible for most of the fraud crimes.
00:27From 2007 to 2009
00:29When I was arrested, I learned that the total sentence against me was 20 years.
00:32The truth is, I was an active con artist.
00:34But honestly, I thought it would shake you a lot more than being imprisoned for 20 years.
00:38That's why, after only four months
00:40I had all the details of the escape plan in place.
00:46What you're saying is crazy, Ahmed.
00:47It's impossible to escape like that, Sam.
00:50I'm not messing with anyone but you
00:52You are my uncle and my only friend
00:54I also didn't mention your name in the investigation.
00:56You are the guarantor of your pharmacist
00:59He told me to hand over what he had taken of the pill.
01:01I will lose consciousness
01:02And with a pause
01:04These people are making me out to be dead.
01:05Yes, but I'm sure the people here in the dorms won't change.
01:08Don't worry at all
01:09I've got all these details sorted out
01:11You are required to eat the day after the burial.
01:13Come open the door for me
01:14Get me out from underground
01:15I have another opinion on the matter.
01:17My brother, allow for a one percent chance of failure.
01:19Security, what are you?
01:20In contrast to our extreme game
01:22And by the hands of the builders
01:23It means no matter what I do, no one will understand you.
01:25I'm advertising to you
01:26Layla was completely hidden underground
01:28Layla Underground
01:29More horrific than being imprisoned for twenty years or more
01:31correct
01:33I want you to go to the park tonight
01:35Hide any small light detector
01:37small
01:38Fasting
01:39The most important thing is that this matter remains a secret.
01:40I don't want anyone to know about it.
01:42Okay, okay
01:43Lord, protect us
01:49enough
01:50Hunt
01:51One night, I'll pass.
01:52After that
01:53I will be free for the rest of my life
01:54This moment
01:55I wished I wouldn't get up from my place
01:57Now I understand that one percent
01:59Not a low probability
02:00And twenty years is not a long time.
02:02Now I also remembered
02:03If it is fresh in our eyes, it is extreme.
02:05And far from the buildings
02:07No matter what you do
02:08No one will understand you
02:10I approached him and finished
02:24Our dear ones, this isn't the use of patience. We knew you were in a new episode.
02:26From the Al-Daheeh program
02:28You did this, Azzi?
02:29Mom, come on, put on the sign, it's 1960!
02:30We know you want to go there
02:31Let's go
02:32I'm telling you, Abu Hamim, let the year come
02:33I can't
02:34But Ali, please be polite.
02:35I want the year to come to your house alone
02:36Hussein, my new viewer
02:37In 1960
02:38It is known in American cinemas
02:39Psycho movie
02:40The movie, my dear
02:41If you don't know who directed it
02:42The great director
02:43Alfred Hitchcock
02:44If you played an Al-Ahly match
02:45Ayman El Kashef is shaving his head.
02:46advice
02:47Don't raise the phone with the ten
02:48Because it will surprise you
02:49You will see a recipe for the family
02:50The one who doesn't bring a camel in the ninety-day blood money
02:51That he is a master of Sa Spence
02:52The jinn did her tiring work
02:54My friend, let me tell you
02:55That title of Master of the Spence
02:57This nickname is Kachi
02:58Its source was the filmmakers
02:59filmmakers
03:00Especially for Alfred Hitchcock
03:02Because with every new film, why?
03:03I have a promise
03:04With suspense and excitement, he doesn't notice.
03:06Hey, Cook, my dear
03:07Elsa Spencer will begin
03:08Psycho movie
03:09Before you even enter the movie
03:11He will set a new rule then.
03:12You'll keep asking about him until today.
03:13The rule, my dear, is that
03:14No one is allowed to enter.
03:15After the movie starts
03:16Even if it's just a fragrance
03:17The American president himself
03:19I used to bring it in a cheese drink
03:21You know, my dear
03:22The forbidden is forbidden
03:23Ah, I mean that what is desired is preserved.
03:25I mean that what is requested is granted.
03:26Forbidden fruit is sweetest, my dear.
03:27You know, my dear, that forbidden things are desirable
03:29So when people hear a strange maid like this
03:31She enters the movie while she's excited
03:32Which movie do we need?
03:33We sit glued to our chairs from beginning to end
03:35And from a minute
03:36In the first chapter of the film
03:37The heroine Marion Karim escapes
03:38With the money, she stole it back
03:39To start a new life with her lover
03:41During her escape, she chooses
03:43She is resting in Luqanda on the road
03:45Motel
03:45Bannon, my dear
03:46She sits on her bed
03:47Like any child who just received the Eid gift
03:49The stolen money
03:50But my dear
03:51After some thought
03:52Her conscience is bothering her
03:52She decides that she has to get this money back.
03:55I entered the bathroom
03:55I opened the shower
03:56She began to relax
03:57As if she were washing away her sins
03:59But suddenly a ghost appears
04:00He opens the key
04:01He stabbed her repeatedly
04:02A scene I won't get on screen
04:13wow
04:13Does this improve things?
04:17strange
04:17Uncle, my dear, are you afraid of the movie?
04:19And the hero is in his text
04:20Up to this point
04:20At least then
04:22With us, an unusual mediation
04:23But the effect of what I call people
04:24After they left the cinema
04:25Hevog all energies
04:26People will say that this is longer
04:27Forty-five seconds
04:28I sat on them in their homes
04:29People stayed for days
04:30She doesn't know how to go to the bathroom alone.
04:32And there was the one who was standing at the bathroom door
04:33And I'm sure he's not alone at home.
04:35Dear, I'll remove your hair, not a house poem?
04:36By God, Abu Ahmed, anything goes with the tea.
04:38I told you to look
04:38It's my breadcrumbs, my dear.
04:39What's wrong? Focus!
04:41Let me tell you about Janet Lee
04:42Janet is the heroine of the film herself.
04:44The one who said she stopped using the shower
04:46My dear, you still take a pigeon in the palio
04:48According to these points, this was not just a scene.
04:50But forty-five seconds
04:51They re-established the definition of horror
04:53They forever changed the face of horror in cinema.
04:55Ahmed, I sense from your performance and style that you are in a state of agitation.
04:58This is a cunning way for Hicho Cookie in the storytelling
05:00I caught her well
05:01Mr. Ephesus, what's up, man?
05:03All this because of pictures of a woman killed in the bathroom
05:05It is the descent with the sun
05:06Has she never seen horror movies before?
05:08Come on, my dear, this is what's going to happen.
05:09They said censorship
05:10It's a normal scene, nothing special.
05:12Because censorship has passed it
05:13Back then, my dear, censorship prohibited any scene with full nudity.
05:17Just listen, any scenes with blood or extreme violence are not allowed.
05:21American censorship was preventing them
05:23Hey, here, my dear Hicho Cook, is going to do a horror scene in the bathroom where a woman is taking a shower.
05:28Without nudity and without violence
05:30The scene in the action sequence shows her being stabbed.
05:33So why does he tell you, my dear, that the blood that was ready in this scene looked like it would leak?
05:37Abu Ahmad, is it possible that the person responsible for the trick was in Laban?
05:40Oh, my dear, with milk
05:43Where are you, my dear?
05:44Abu Ahmed, don't take offense if I used the word "trademark" and then advertised them on your show.
05:49What advertisement, my dear? The one on camera looked like a thief.
05:54Sosh Shokalata asks me and tells me how there was a shocking impact on people with Sosh Shokalata
05:58Here, my dear, I'll do something dramatic. Let me go out and I'll come back with the answer.
06:03My dear, any scene he sees in front of you appears as mere images.
06:10As everyone knows, the Hitchcock effect will be explained to you with a simple test.
06:14In this shot, there's a close-up on Hitchcock's face.
06:16Then we cut to a scene where a mother is playing with her son, and we return to see Heechul's smile.
06:21If I asked you what your opinion of this man is, it would be strange that you would say he is your model of a good man.
06:25If we then put this scene on a beautiful and seductive woman, she would pray to God that your father doesn't come in on you right now.
06:30Then let's cut again on the same close
06:32Here, the kind man has turned into an old man who is leering at a pretty girl.
06:37Waba waba waba
06:38Do you know what that means, my dear?
06:39We are looking at the same picture with the same close-up.
06:41The only difference here is the order of the shots before and after.
06:45This arrangement is what made you respect or despise the person.
06:48Dear Ta, a simple definition of production.
06:51Or, as Hitchcock put it
06:52Shots are displayed at a certain speed and in a certain order.
06:55I feel that you can plant an idea in the mind of the recipient
06:58Reaching him means you want to tell him
07:00In the Psycho Hitchcock scene, this concept will be taken to a much harder level.
07:04And it will plant in our minds a very welcoming idea
07:05If I asked you, my dear, how many murders have you seen in movies?
07:08You say, for example, ten to twenty
07:11If you're a fan of Mohamed Sami, you'll raise this number to 12.
07:13But if I asked you, how many murders have you actually witnessed?
07:16Many of us haven't seen it.
07:17Whoever saw her, may God protect them, will never forget her.
07:20This brief message makes him stay away from any place that reminds him of her.
07:23That's exactly what happened in the scene from the movie Psycho.
07:26Ketchko didn't show a crime on Shell Cinema
07:28Rather, it was transmitted to the entire viewer through editing.
07:31He inherited that he experiences the crime as if it were a real moment.
07:34The spectator here is both the killer and the victim.
07:36He is the sole hero of the story.
07:38And that's why the viewer will never forget this scene.
07:40And when he's going to break down, he'll try to act like a traumatized person.
07:43He's taking advantage of the things you're thinking about.
07:45And in our case, what's it like? Like a bathroom.
07:48Imagine what it would be like if the restroom became a crime scene.
07:50It remains a house of anxiety and discomfort
07:52Let's play those 45 seconds comfortably.
07:54First, Ironically, they tricked us by saying there was no music.
07:57Normally, music guides you
07:59It remains the GPS of your emotions
08:00For example, music can be funny, comedic, or entertaining.
08:05I was affected by the scene because I felt it appeared to be a funny scene.
08:08The music is what makes us feel the scene.
08:10It's what conveys the state of the scene to us.
08:12Music can be like tennis, giving you a feeling of tension.
08:15Maybe you have a sense of comedy
08:16There's going to be a comedy scene here.
08:18And it's possible that something like Baseline might still be present in the Bedground.
08:20That's the music of Al-Dahih
08:21Whatever it is, it prepares us psychologically for what we are about to enter.
08:24Here, my dear, in entering the scene
08:25Hitchcock completely cancels the music
08:27To begin watching the scene, what are your expectations?
08:30It's like a normal sequel to an ordinary heroine taking a bath.
08:34There's no background music in the bathroom.
08:35Then a shadow appears behind her, and the lamp opens at that moment.
08:39This is where the music begins.
08:40This isn't music, this is violin music.
08:42The kamanga
08:43People are always used to the romantic melodies of the kamanga.
08:45So that Hitchcock's trick would be complete.
08:48We, the listeners, are hearing annoying and repetitive notes.
08:51By silencing a worker like the stubbornness that the girl was stabbing them with
08:54This same rhythm is like the rhythm of a heartbeat.
08:56It suddenly gets higher and higher
08:58The same increase that happens when a fast car hits you
09:01This is the entrance that Hitchcock chose to make for the audience
09:03Our heartbeats will rise with the same intensity as the beats of a violin.
09:07Get into the picture, my friend.
09:08The first condition to feel comfortable as a recipient
09:11No matter how terrifying what you're watching is
09:12he
09:12The distance that separates you from the event
09:15You may be close to or far from what is happening.
09:17Hitch Cook makes three kilos of hot sauce
09:20The shot of the muslin
09:20Boat shot of Loch
09:22And a snapshot of her scream as it emerged from the rest
09:24In a moment, we find ourselves drawn to the scene.
09:26It was as if they were entering the house wearing the kina
09:27Hitch Cook will use a Mitchell BNC camera
09:29With a fifty-millimeter lens
09:31This lens has only one unique feature
09:33It is the lens at this time that most closely mimics the perspective of the human eye.
09:37We are now involved in the scene
09:39We are inside the scene with our own eyes
09:41We kill and prepare
09:42Sami says there's nothing more realistic than that.
09:44Typically, when we see a murder in a movie
09:45And we see the killer stabbing
09:47During the shot, a slow-motion cleansing was performed.
09:49And we see the victim in action
09:50Here our minds get confused and get entangled in the event
09:53His only redeeming quality was his compassion for the victim.
09:56And hatred for the killer
09:57That's what's required of him.
09:58Hitchrock in this scene presents you with a puzzle at breakneck speed.
10:01If you look at it like that, you'll find the sequence of shots illogical.
10:04A shot of the killer with an onion, from the victim's perspective.
10:06A snapshot of the victim, from her perspective, of the killer.
10:09A top-down shot of the killer and the victim together
10:11It's as if a third party is watching them.
10:13Cut with a knife
10:14A shot of the bathroom floor
10:16Hitchrock, my dear, will put 78 angles
10:18Or as he put it
10:19A peace or a film in just 45 seconds
10:22The field is here in front of Basel, I'm not stumbling
10:24He won't be satisfied until he intervenes in the scene himself.
10:26The arrangement of this puzzle
10:27The picture needs to be solved by someone else.
10:29So that he can imagine what the stab wound will look like
10:31One year, you delusional man!
10:32We saw the stab wound, it concerns us
10:33Why would our brains imagine it?
10:35The stabbing happened right in front of us.
10:36Dear coffee, focus on the scene.
10:38Between the shot of the hand as it descends with the knife
10:41And a shot of the victim as she was being trimmed
10:42The stabbing did not occur
10:44This, my dear, is in the language of editing.
10:46This isn't a stab wound.
10:48Hitch Cook around 52 Edt
10:51So that they would serve as stabs
10:54In short, the CAT is an alternative to the stab wound.
10:56The killer, my dear, is in this scene.
10:58Not an appellant
10:59But the miner
11:00The fact remains that the stab wound didn't occur in your mind; it's the one that volunteers.
11:02So that he can imagine her
11:03Hitchcock, my dear, says sentence by sentence, very sentence by sentence
11:05I was addressing the viewers
11:06Not the actors
11:07In an exit, I mean
11:08All the spectators are seated in the auditorium.
11:09I imagine the stab
11:10Once, while he was in her hands
11:11And once he received it
11:13This explains why the stab wound
11:14I didn't get it
11:14The mind is what heard it
11:15One second, Abu Ahmed, do you mean that I'm watching Crodia?
11:17I'm relieved and I'm crying
11:19I didn't notice the events
11:20By making excuses, you say that
11:20Byazi, I tell him, my dear, that you are excused.
11:22There's no time to imagine that this is a fantasy and a trick.
11:24There's no time for you to process this.
11:26This is a slow-motion video, a gesture of goodwill from me and the editing team.
11:29The name of the poem is Wang Atef
11:30and the rest of the team
11:31In the scene, my dear, you saw it
11:33One person knows how long their winter lasts.
11:35Three-quarters of a second
11:36By the time you realize there's a stab wound in it
11:37Kitch Cook will be surprised
11:38What could be a stab in the back
11:40First
11:40The music starts to slow down when someone messes it up.
11:43Just as your heart began to calm down
11:45And its beats gradually decrease
11:47So you can finally understand what happened.
11:49This time the close-up won't be on the heroine's face.
11:51But on her hands at this moment
11:52Cook will surprise you by finally separating you from this scene.
11:55But with the utmost intensity, the heroine
11:57Give her a hero
11:58So that you, as a viewer, can be sure that she is dying.
12:00And if you wait, you won't even make it.
12:03The shot will focus on the bathroom in her back
12:04Fahiban Al-Munzeef and Aniq
12:07Here, Cook will be surprised by the Contrast factor.
12:08It reminds you that the place where it happened
12:11This heinous crime
12:12It is a rest house
12:13A place where you feel comfortable and have privacy
12:16Or you felt that way
12:17Hey, look, he's telling you that this place could become dangerous.
12:20Why? Because you'll be completely absorbed in it.
12:23This is the place where you are most often
12:25You don't even have shoes on your feet.
12:27You could take it off and throw it at the killer.
12:29Your last resort is to spray something with poison for a reason, like a brush.
12:31He smeared the killer's face with the reputation of the shower, like that.
12:33Hopefully, no one will bother the kitchen.
12:35So the water stays for an hour, then he gets cold and dies.
12:37That's your limit in the bathroom
12:38What I'm trying to say is that you are at your weakest
12:41Karl Masha, my dear, it's impossible you would have thought that all the advantages of this comfortable place would turn into its disadvantages as a generous theater.
12:48The weakness increases when the heroine reaches out, making a conscious, cruel, and sadistic decision to move the camera away from her.
12:56Why? To increase the distance between you and her.
12:59Yes, you see she needs help.
13:01Yes, you see her dying, but you're keeping her alive.
13:03Not only that, my dear, you see the last thing the heroine does, which is that she cuts the sword.
13:07This is the remaining, subtle gap between the event and the spectator.
13:11My dear, the mix suddenly stops, and we return to our reality, in the monotonous voice of Mai Tandoush.
13:17Indifferent to the crime that occurred
13:19And the bathroom was fine, nothing happened.
13:22What's wrong with you, don't go to the bathroom?
13:23Blayh, in the midst of crime, doesn't let anyone flush the toilet or hit with their elbow; his abilities are limited.
13:28And I want to be snatched up like I'm snatched up with the pigeons.
13:31I didn't say it, it's similar to Eloquence.
13:32Go with me in this mood, I'll try to applaud you cinematically. The horror of the crime here is that it happened with the usual speed.
13:39What does your "dath" mean, with all due respect to him?
13:41Okay, we need to finish the movie. Come on, hurry up! We need to get out of the bathroom!
13:46The reality, my dear, is that no human being dies in this world in an epic fashion.
13:49Unfortunately, life is much more boring, predictable, and monotonous than that.
13:53Close up to the bathtub where you're wasting shower water
13:56And from there, on the heroine's lifeless eye, Zoom Qut moves away from the heroine, who is trapped in a state of helplessness and powerlessness.
14:02They were telling me, as a viewer, that the heroine you became attached to and were impressed by her beauty and intelligence together
14:08If I did it, I'd ignore all the previous events, and you did it, and I'd be impressed and amazed.
14:11And also, be aware that it made you sympathize with her morally, in that she is a guilty thief.
14:16But she is also guilty, she wants to repent, she wants to go back to stealing.
14:20This beautiful, complex mix... just a few seconds... you were present and witnessed it; you were the third person in the room.
14:27I made you feel for the killer and feel for the victim, and all that experience turned out to be like water swallowed by a drain.
14:32But what's the difference is that the drain was the one that found your awareness.
14:36My dear, my doubts were that he didn't film anything, didn't taste anything, and didn't put a single drop of blood in the scene.
14:41But as I told you, he succeeded in stimulating your mind with the editing, making you imagine all of this and witness a murder.
14:46It's difficult to distinguish between reality and imagination in it.
14:48Or, in the words of actress Janet Leigh
14:53This, my dear, is not what you saw, but what you thought you saw.
15:02Dear, it's possible you've ruined his oil.
15:03Hitchcock, my dear, didn't crush a cinematic scene.
15:05Rather, he offered a complete emotional experience that any director could take from him.
15:09He applies it to create SplC&Talk
15:12With the recipient
15:13He has a reputation for it at the demokrat station scene
15:15The champion is getting punched in the ring
15:18You'll find the director is the great Martin Scorsese
15:19Take it shot by shot from the sequel to the movie Psycho
15:22You seem to be contributing to the viewership of the shows shown next to each other.
15:24Scorsese wanted the audience to take the place of the protagonist.
15:27He holds the morsel in my hand and takes it.
15:29Hitchcock is playing a monkey, he'll try to make a movie
15:31From a hunch we're watching, to a real plan we're living through
15:33This will change the way we receive and watch cinema forever.
15:37When Hitchcock asks why his films always rely on sudden suspense
15:41He will say that the main idea in all of his films is about an ordinary, peaceful person.
15:45Just like our spectator
15:47This person suddenly puts you in an unusual situation
15:49This situation will change his whole life.
15:51This, my dear, was his orphan
15:52This idea, Hitchcock tells us, will drive him crazy as we try to get rid of it.
15:55Yes, my dear, because it's part of its makeup.
15:58Ah, Abu Ahmad, what a shame on childhood!
16:00The kind of people and great figures you bring into your relationships
16:02Childhoods of Menaila, sixty Menaila, may God curse these fathers
16:04Honestly, Abu Ahmed, I envy this program.
16:06His supposed temporal structure
16:07Idiot parents produce great children.
16:10And you say it, Abu Ahmed
16:14Come on, my dear, let's not watch Hitchcock, let's watch Alfred.
16:16The child who is five years old
16:18His father will give him a printed sheet of paper and tell him to take the name.
16:22The boy will go and give it to the officer to hand it over to him.
16:24He doesn't know what's on the paper.
16:26The officer takes the paper and reads it.
16:28Then he takes Alfred and throws him in the cell.
16:30Then it turned out that the paper simply had only one line written on it.
16:33A naughty child, lock him up for a while so he can progress.
16:35Hitchcock in the cell will only be there for five minutes
16:37But those five minutes would change his life forever.
16:40An adult person means
16:42The evidence if he is imprisoned
16:43Five minutes in a cell shouldn't shorten his life.
16:45But this event happens to a child who is five years old
16:48He calms down on him as if it were an eternity.
16:50Hitchcock will create within himself a terror of authority
16:53Police salad
16:54Or authority like parental authority
16:56He will be surprised by the flowers
16:57He will be afraid of anyone.
16:59He will say that the fear in his films is the fear he experienced as a child.
17:02The problem is that Hitchcock's fear won't be contained.
17:04No prison cell could contain his fear
17:06This fear will spread to the whole world
17:08Hitchcock, in the name of God, what God wills
17:09He can take anything to display his fear
17:13Any opportunity to display fear
17:14He will exploit it skillfully.
17:15If the cell is cramped, it's natural and logical that it would scare you.
17:18He will say to you, "Come here, my love."
17:19I'll put you in a spacious place
17:21No guards, no bars
17:23And you'll still be scared and terrified, as if the cell is cramped.
17:26Let me, my dear, review the following scene with you
17:28To clarify my point of view
17:31When you ask Hitchcock about his greatest films
17:33He will say without hesitation
17:34North by Northwest
17:36His story, my dear, is the same theme I told you about.
17:38A very peaceful, ordinary businessman
17:40He is often confused with a highly dangerous spy.
17:43And in a moment, this suffering human being
17:44His life turns into a deadly chase
17:47Hitchcock would say to screenwriter Ernest Lehman
17:49I'm not involved in anything, so I'm not involved in anything.
17:51This movie will be filmed scene by scene.
17:53The story will be improvised day by day.
17:55We remain at the end of the night
17:57And we don't know what we'll do the next day.
17:58The film was a giant gimmick from Alfred Hitchcock
18:01In order to enact a specific scene in his imagination
18:03Hitchcock will decide to make a scene similar to his childhood scene.
18:07This time he won't put you in a cramped cell.
18:09No, this is Hermick in a vast world.
18:11And you'll still be scared
18:12Hitchcock will tell the screenwriter
18:14I've always wanted to do a scene
18:15The hero stood in the desert
18:16vast desert
18:17There are no walls or anything else you can hide in
18:20It's all clear in front of me
18:21Everything is exposed
18:22There's nothing as far as the eye can see.
18:24The scene begins with a wide shot of Sahra
18:26The bus is dropping off the hero
18:27The hero goes down and locks one
18:29Shoot for the hero, he's looking to his right
18:30desert
18:31Shoot for the hero, he's looking left
18:32desert
18:33The transfer of the hot sauce is done
18:34I am the hero
18:34The tension is very high
18:36Because we simply don't know where the danger is coming from.
18:37That's not a dark blue.
18:39Not a cramped cell
18:40No bathroom
18:41There will be a killer who takes advantage of my weakness
18:43I can't see him from behind.
18:45A spray bird appears very far away
18:46I don't even know what to tell her
18:48It comes from a car engine.
18:49And the easy way
18:50The director tells us
18:51The danger might come from the road.
18:52He might suddenly get hit by a car
18:53A killer emerges from the window of the car, shouting
18:56Another car comes after it
19:06And he doesn't know what danger he'll face from it.
19:08From the security there
19:09Nor among the criminals
19:10In a moment, he looked and a man got out of it.
19:12The hero's words are the best words
19:14It was like we were here in a scene from Weston
19:15We're waiting to see who will fire at the other.
19:17Who here will take the pistol and winch, bro?
19:19Not all of them, my dear, we don't know anything.
19:21And our hero doesn't know anything
19:23He doesn't even know why he's here in the first place.
19:24He doesn't even want to fight or confront anyone.
19:27Like all of Hitchcock's heroes
19:29A peaceful person, Hitchcock will divide his chips
19:31Hot sauce for the hero, hot sauce for the man
19:32Which one of them will take care of the other?
19:34Our hero moves towards the man.
19:36Just as Alfred the child innocently moved towards the department
19:38Here, my dear Peter, is a simple dialogue between the two men.
19:40The plane reappears in the distance in the background.
19:43Now, my dear, it's just a day
19:44And we, as viewers, even though there's no action
19:47Feeling nervous
19:48And we're waiting, as you say, for someone to attack someone and the Hadd Authority.
19:52But the strange man will say our hero is simplicity
19:55That plane up there is so funny
19:56Because it is a crop-spraying plane
19:58Meanwhile, around us there's no harvest.
20:00Our hero learned to think about the sentence he heard.
20:03The strange man gets on the bus and leaves
20:05The word here focuses on the plane as it approaches the hero.
20:07Our hero is standing at seven this time
20:09Contrary to the hesitation he displayed in front of the cars or the man
20:12Because a distant plane is definitely not dangerous
20:14But then the plane gets closer to the screen.
20:16It's as if she's going to hit the spectators.
20:18Our hero met his end at the last moment
20:20Did you notice, my dear, this exit from Al-Tarmatiz?
20:23So, my dear, if you didn't notice
20:24You'll find that Heet Shokouk had placed the danger to you from the very beginning.
20:27The man put a plane in the first scene right in front of your eyes
20:29But it was far away
20:30It was also a spray plane
20:31Not a helicopter, for example, but someone with a gun could shoot me.
20:34So we assumed she was a Muslim pilot.
20:36Her age is Bahtajel
20:37I'm not supposed to be afraid of her.
20:38The second one is black and annoying
20:39And secondly, please leave it in the Azas like that
20:41This is the one who's afraid of the spray plane
20:42Why am I, a human being, afraid of a crop duster?
20:44This, my dear, is the same thing that happened to those who doubted his height.
20:46He never imagined, like any son and any viewer
20:49The danger is imminent.
20:50Why am I, a human being, afraid of a crop duster?
20:52I'm not an insect
20:52At this moment
20:53Heyt, doubts arise between Lina and his feelings through his hero.
20:56When the plane is the one kicking you out
20:58At that time, any wide swab
21:00It is the source of the danger
21:01Then, O Lord, religion will remain a prison.
21:03Oh Lord of religion, a wrong bath
21:05Oh Lord of religion, curtains
21:07I can hide behind her
21:08I'll write any four lines myself
21:10You are literally in this danger
21:12Survival might be possible in the cell
21:14That's it, my dear.
21:15What overturned Hitchcock's concept of danger
21:17And this happened in the cell situation.
21:19He is the one who grew up
21:19His flags have become wider
21:20Alfred Hitchcock remained
21:21How could he not give him a piece of paper and put him in a cell?
21:23But the fear, instead of lessening, grew with him.
21:25He kept growing up with her
21:26Those who left the plane are gone.
21:27You'll find it no matter how much we try to run away from it.
21:29The more the pen expands
21:30The more the danger increases
21:31Let's get back to our scene, my friend.
21:32The plane makes a full rotation
21:34And now we are watching it with new eyes.
21:37We'll find out if she can attack us.
21:38Like a ravenous scorpion
21:40And the hero also won at the last moment.
21:42He escapes to the road
21:43Now he wishes any car would block him
21:45After the cars were the source of the danger
21:47He was a source of terror for him in the first scene.
21:49Because here, my dear
21:50Now we move on to the greatest shot of the scene.
21:52The hero is running and looking at us as spectators
21:54It's as if he's pleading with us for help.
21:56And here, as usual, is Hitchcock
21:57He's getting us into trouble with the man.
21:59And He will keep us away from him
22:00He knows and is certain that Hajji Fina will be able to help him.
22:02The chase continues until the end of the scene.
22:04The hero stands in front of a car
22:05He came and caught him, and the speed ended.
22:06He risks stepping on her.
22:08At the last moment
22:08His entire body goes under the car
22:10But this is his way of survival.
22:12When the plane crashes
22:13Here, my dear, it's as if Hei Jungkook is telling us
22:15My fears are terrifying and endless.
22:17But maybe my films are just an attempt
22:18To put myself and you in danger
22:20Purification is permissible
22:22The salvage that's happening here
22:23It is the only means of survival
22:25If you thought about it, my dear, and reflected like this
22:27You'll notice that, I
22:27I didn't tell you anything about the hero of the scene.
22:29And I didn't tell you about his enemies
22:31I didn't tell you why he reached the desert
22:33All of this is in relation to Haig Cook
22:34It doesn't matter
22:34As he used to tell his screenwriter
22:36It was the same thing, but he didn't know it completely.
22:38He's filming
22:38But the projects I described to you
22:40It is the most important thing
22:41This is a concept in the Haig Cook cinema, they call it
22:43The eyelids
22:43A term that describes something that drives all events
22:46But it's not important
22:47We won't know what it contains until the events are over.
22:49Like a flash drive, for example, the kind used for transporting people.
22:50What's wrong with it? It has two sad hands.
22:52An important need for heroes
22:53But we don't need to know its contents.
22:54Here, with a conscious decision, the director wanted to tell you
22:56The cause of the event is irrelevant.
22:57Ziyassa confirmed at the event
22:58For example, if you looked in the cinema
23:00For example, you'll find a light-up bag
23:01The one all the dead were looking for
23:03In the movie Balfiction
23:04Everyone opens it like that.
23:05We don't see what's inside it.
23:06But this is for someone to open
23:07And we see her with a blind eye
23:08The doors are open to him, which is amazed by her.
23:09But what do we, as viewers, ever see in it?
23:11But we are sure it is important.
23:13It seems like everyone is interested in the film.
23:14So it's important
23:15In the movie North by North Was
23:16In our case, the magavon was a microfilm.
23:19Everyone is kicking the hero out for their own sake.
23:20The content of the microfilm is not important.
23:22We'll never know what's inside.
23:23The important thing here is the chase.
23:24The event
23:25And most importantly, emotional experience
23:26According to what I said, dear Hitchcock
23:28Mystery
23:28Intellectual Process
23:30What remained was the suspense.
23:31Emotional Process
23:32The Molière Enigma is a mental process
23:34While suspense is an emotional process
23:36That's why your uncle Hitchcock
23:38What is it called?
23:39It depends on the value of the detector
23:40The Mister of Suspension
23:42Not Mr. of Mystery
23:43Because it focuses on emotions
23:45I tell you, my dear
23:45If we can see a movie like Seven
23:47He's doing a tribute to the Hitchcock film
23:49The Tribute, my dear
23:50She greeted the directors in their films
23:53Seven good things, Uncle Hitchcock
23:54Good evening, Mr. Spellbird
23:56My beloved Oman, first
23:57Peace be upon you on your timeline
23:59The important thing, my dear
23:59The Tribute in the movie Seven
24:01She roamed in the last scene, if you remember
24:03When the filmmakers offer a tribute
24:05For the scene with Hitchcock
24:06In the scene, the detectives take the criminal away.
24:08For the vast, semi-desert area of Hitchcock
24:10We'll know with the results, my dear.
24:11The danger comes neither from the criminal nor from the investigator.
24:13But rather from a simple truthful person
24:15Hitchcock's pilot costume
24:16Of course, my dear, I'm not trying to spoil anything for you.
24:17Go watch the movie yourself
24:18Our dinner is Mr. Ofza Spinneys, take note
24:21I think, my dear, the matter is easy.
24:23He dedicated his production
24:24And we'll be like Hitchcock.
24:25But Aziz, that's the common opinion among many people.
24:27What I would consider the best is Hitchcock in editing.
24:29Let's watch a movie like Rob, for example.
24:30You'll find that Hitchcock is challenging you
24:32Little dear, in the first few seconds of the film
24:33It presents the crime and its perpetrators
24:35Two young men betray their third friend
24:37They hid his body in a wooden box.
24:38They will cover the box, my dear, with a sheet.
24:40They make it yellow
24:41And then he remained
24:41Haqihana, for those who receive him as guests.
24:43Hitch Cook is here
24:44The murder was revealed to you from the first second.
24:46And they're just watching them with a sense of suspense.
24:48All the while, Qan moved around until someone approached the box.
24:50Bashir said the whole movie is in the living room.
24:52We don't get out of it
24:53One Location movie
24:55A film loved by producers
24:56But any film student knows that the place is the same
24:58It was a stage and a wooden theater
24:59He himself is the stage model
25:01And the theater, my dear, simply
25:02The last thing that remained in it was a product
25:04Because you, as a member, attend the play
25:06And the tears are able to remain still, they don't move
25:07I don't understand what's protecting her, that's her problem.
25:09He stopped filming it continuously.
25:10Camera mount
25:11Whatever happens, happens.
25:12That's what we call it in the world of cinema, my dear.
25:14Single Tick
25:15The idea, my dear, that this was impossible at the time
25:17Because the film reel is ten minutes late and then it changes
25:19So he has to get a cat before the ten minutes are up.
25:21Hitch Cook, my dear
25:22I want you to be surrounded by heroes
25:24You feel the danger just like them
25:25Without any moment of separation from the event
25:27You are also burdened by the idea
25:28You know more than all the guests
25:30Do you know where the body is?
25:31And now, like those who killed her
25:33You're scared too, even though you didn't do anything.
25:34The limit is close to the box
25:36Come, let me show you how to make a cat smoothie.
25:38Don't feel it, Zay
25:39Look here, my dear
25:40The camera appears to be moving through a blazer.
25:42But it works as a cat
25:43And we begin a new scene.
25:45Or here
25:45And we see the killer
25:46He hides the rope
25:47The rope, which is the weapon of crime
25:49But we can't make a cat here.
25:50Because Hitch Cook will turn the door
25:53Natural Edit
25:54The movement of the door will disconnect the killer.
25:56And his plan
25:57About the other characters
25:58In a clever way, Hitchcock will transform it
26:00annoying cuts
26:01Ward separates you
26:02And it takes you out of the event
26:03For help, the scene
26:04Don't feel the cut that happened in it
26:06But the question here
26:06Why did Hitchcock do all this?
26:08Hitchcock says
26:08If you have something under the table
26:10And it exploded in need.
26:11In an event
26:11But if the public knew
26:13There's something fishy going on under the table among you.
26:14At the time when the film's characters
26:15They are sitting there drinking tea
26:17Without them noticing
26:18With utmost calm and serenity
26:19That's his name
26:20Ah ah
26:21Suspense
26:22suspense
26:23Because you know the information
26:25It will happen right in front of you.
26:26But the characters don't care at all.
26:28They didn't know anything
26:29You will die
26:30And she tells the people who drink tea
26:31Wake up above him
26:32Come on, my dear
26:33Let's go back to the movie "Droop".
26:34The most difficult scene in the movie
26:35Not killing
26:36But this simple scene
26:37The heroes are speaking on the right.
26:38And the camera isn't showing them
26:39But at the same time
26:40Part of them is visible
26:41Because they are not important now
26:42The scene has geometric depth
26:44Room inside room
26:45This is the same situation as the heroes.
26:47Diamond holds a deep secret
26:48The companion of the revealer
26:49The task here is extremely difficult, my dear.
26:50It is the box
26:51The maid comes every now and then
26:53She takes another plate of roses
26:54As if, my dear
26:55poetically
26:56It removes layers of secret
26:58Laser removal
26:59She explains one by one
27:01So that the secret will eventually be revealed
27:02This scene, my dear
27:03How long will it last?
27:042 parks
27:052
27:06The maid bears a very fateful scene
27:08At the time
27:08The spectator loves my heart with awe
27:10If he doesn't do anything again
27:11Sitting on the tips of his toes
27:13The maid is finished.
27:14She's about to open the box.
27:15But at the last moment
27:16The killer intervenes
27:18And he's making it seem like this is going to happen
27:19And we as viewers
27:20Even though we didn't do anything else
27:21Our only fault is that we opened the film.
27:23We're here to benefit the man and appreciate fine art.
27:25However, we were relieved by what prevented it.
27:28Thank God the box won't be opened
27:29And nobody will see the body.
27:31Enter the whole movie like that, my dear
27:32You are watching it
27:33Not seeing a person's sparkle
27:34You are, in one way or another
27:36The accomplice of the killer
27:36The accomplice in a crime you didn't even think about
27:39Hey, let's see this moment
27:40The six of them say the killer's name
27:41The killer gets nervous
27:43Nobody notices
27:43He hurts his hand
27:44The camera here is spying and eavesdropping
27:46We're the only ones who see what happened.
27:48Only the viewer sees
27:49What about the other guests?
27:50no
27:50Every movie you watch now
27:52And its makers are proud
27:53It's taken with Long Tech
27:54With a long testimony
27:55There's no cat in it
27:55This is, for example, the war movie "The Hundred and Seventeen".
27:57Or the movie Birdman
27:58Or the scene of Ibrahim al-Labiad
27:59He and his wife are dancing together
28:01When he was in the evening, he was speaking in English.
28:02All of these things could be a source of inspiration for her.
28:04Alfred Hitchcock
28:05Rob's film
28:07In August 1961
28:09Residents of Monterey Bay, California will be surprised
28:11violent attack
28:12It doesn't happen with criminals or planes
28:14But my dear, I am from the birds
28:16Birds will crash into houses and cars
28:17The terrifying thing is that the attack will begin and end
28:19And nobody knows why.
28:20As for you, my dear
28:21This is just a passing news item for everyone
28:23But it will be inspired by the Birds movie
28:25Because we
28:25In front of a directorial phenomenon capable of creating suspense
28:28Without toast, plots
28:30Like, for example
28:31I wonder who will turn out to be the killer in the end
28:33Oh, how the nurse is cooperating with the doctor!
28:34She's not actually a doctor disguised as a nurse.
28:37No questions
28:38Sai Film Rob Keda
28:39We are the mind of the killer from the very first moment
28:40We're not going to put on that "sons of Rizk" act.
28:42This guy has a different vision of suspense.
28:44I'll roast you without roasting you
28:46What do you say?
28:47People are being roasted and not cured
28:48I am your medicine and your thorn
28:50By the way, dear
28:51One of the ways of narrating D
28:52We used it in an episode of the Al-Daheeh program.
28:54American Chernobyl Loop
28:56When we talked about the two nuclear bombs
28:58Those who signed on to the United States of America
29:00And we all know
29:01There are no nuclear bombs
29:02I am aware of the United States of America
29:04But we left you as a viewer
29:05Or that's what I expect happened
29:07You'll remain confused until you find out
29:09The two bombs that didn't explode
29:10How did they sign?
29:11I know there are no bombs and no
29:13Why did I leave you, my dear?
29:14I'm lost, wondering
29:15What are the methods of bombs? Will they fall or not?
29:17Will it fall or not?
29:18We know it, and you know it.
29:19No explosives were used.
29:20Tell me, my dear
29:21Nadih Nibras
29:22It's not easy to get wet
29:22I am one of the great Nabarsah
29:23By God, a beacon
29:25Here, my dear
29:25Hitchcock will make a bold choice
29:27He will choose his heroes
29:29The birds remain
29:29Hitchcock will terrify once again
29:31In his work
29:32It's normal
29:32When he behaves unusually
29:34What will happen?
29:35If the things we see every day
29:36Normal and fine
29:37She suddenly decided she would insult us
29:38What's the feeling?
29:39At the beginning of the film, we see a scene of the hero and heroine.
29:42In a shop
29:42And between them, a birdcage
29:43Evidence of the place of birds in the human world
29:45They are stabbed and imprisoned inside a cage.
29:47At the end of the film
29:48The verse will be reversed
29:48And we'll see the heroine
29:49She locks herself in a cabin that's like a cage.
29:52Why?
29:53Escape from the birds
29:54O Abu Ahmad
29:54This is a very important lesson in the humanities, by the way.
29:57That's the lesson, my dear, that Hitchcock would have taught you.
29:59He wants to establish it
29:59But the world is a cycle.
30:00And as we see, safety
30:01Come on, we're talking about an important filmmaker.
30:03He has a cinematic language
30:04Dear, do you know what the problem is?
30:05If you analyze films in a lab
30:07Yes, indeed.
30:08Your analysis is gone.
30:08disgusting analysis
30:09Listen to what I'm saying
30:10I told you, you are in front of a beacon
30:12Waad, are you still talking?
30:13In the world of Hitchcock
30:14Nature, which we always see as an ally
30:16Because of the boring work we do.
30:18This nature has turned into nothingness
30:20A difficult enemy to control
30:21Now the question arises
30:22How to create suspense and your heroes
30:24animals
30:25He has no brain.
30:26There is no awareness
30:26There is no evil and good
30:28Goals and control
30:30There is nothing
30:30In every scene, the birds must
30:32We see very weak institutions
30:33Hitchcock said
30:34He himself
30:35He was forced to watch scenes of children escaping
30:36He played the drums with a terrifying sound.
30:38Because of their faces
30:38He appears appropriately annoyed
30:40So he kept mounting the birds on the image
30:42The viewer's feeling of what is happening
30:44It is completed
30:44That's why it will rely on suspense.
30:46Anticipation
30:47In these scenes
30:48We'll see the heroine
30:49She's a base who smokes cigarettes
30:50Behind her stands a bird
30:51On the playground
30:52Games Place
30:53The one located next to the children's school
30:54One bird is followed by another.
30:57And third
30:57In a gradual, nerve-wracking way
30:59Until the heroine notices
31:01Here, my dear
31:01The phase doesn't stop with the follow-up, Hamji
31:03no
31:04Countries that acquire human characteristics
31:05What are they?
31:06Order, planning, and garage
31:08Suddenly the heroine enters
31:09The school and children are warned
31:11We are all terrified now
31:12Because the condition is that the children excel
31:14The moment they leave
31:15They are from the purest of the Ghersout
31:17Until the right moment of the apothecary arrives
31:19They pulled
31:20The camera focuses on the black crows.
31:21She is calm
31:22But in a moment, you follow the attack
31:24We see children bleeding and falling
31:25We're starting to get scared of what's happening.
31:27This whole scene is made with this brick
31:28In cinematic terms, it's a way to make it look like a brush.
31:30The scene escalates to the point where the heroes escape at the end.
31:33Now, my dear
31:33You make a difference, and you know what birds are capable of.
31:36The birds have become just as evil as humans.
31:38Humans are usurers just like birds.
31:40And that's not how it is here.
31:40The birds remained organized
31:41But humans, oh dream
31:42They don't have wings to escape with
31:44The final scene is neither a battle nor an epic.
31:46Just as you expected
31:47But, my dear
31:48Suspense is spoiled by the heroes in the most exciting ways
31:51They move in silence
31:52Oh, you, Hitchcock!
31:54It works for you, my dear
31:55A simple scene
31:56calm
31:57So peaceful, even though there's danger coming.
32:00You'll get dry from all the things you're doing to yourself.
32:02A maid is trying to get paralyzed by a story about water.
32:04Workers arrive and one of them dies
32:07Heroes walking at ease, Creator
32:09I'm in a good mood now
32:11But next to this simple act
32:12The tension here, my dear
32:13If this silence is forced
32:15It contains an army of birds capable of with minimal movement
32:17He is consuming them
32:18It's like a powerful movie, not
32:19In this world, your only salvation lies in silence.
32:22Your salvation lies in silence and stillness.
32:24Your horror and enjoyment of the scene
32:26If you see him, there is the slightest movement.
32:27You wish the heroes would move, but they're statues.
32:30The war moves with heroes
32:31And the camera lets them go
32:32It stipulates the house where birds perch systematically
32:35In a sign that her house is finished
32:36Those who inhabit the earth are not humans.
32:37Arabic disappears at the end of the cloud
32:39And we begin to hear the birds calling.
32:41The strange thing is that it's a fever, my dear.
32:42In all of this film
32:43The film begins and ends
32:45Without him knowing
32:46What caused the bird revolt?
32:48We don't know if this calm
32:49In the city of California
32:50And the heroes won't go by car.
32:52And they discover that the whole world has become like this
32:53This is my dear friend, the real deal
32:55Now suspense can understand you
32:56Why are some California residents
32:58They didn't leave their homes
32:59They have a few days left.
33:00During the film screening
33:01Because, in the words of the film's heroine, "The Shake"
33:03This movie made people afraid of something
33:05It was part of their daily lives
33:06Just like we've always gone to the bathroom
33:08We've been going to our friends' houses all our lives
33:10We drink tea with them
33:11We don't expect them to have committed a crime.
33:13We've been encountering beautiful, sweet birds all our lives.
33:15The one who sits and sings
33:16suddenly
33:17Hichi Cookie says
33:18No, wait a minute.
33:19Wait for
33:19no
33:20They might be evil
33:21The house you go to
33:22There might be a crime.
33:23The bathroom you're entering alone
33:25Someone might come and stab you
33:28Hichi Koki ya Hazizi
33:29He arrived in Hollywood in 1939
33:31With the beginning of the word that I read
33:33May God bless us with goodness and prosperity.
33:35Take it easy, Muhammad
33:36This is a very strange invitation.
33:37It is a tenth
33:38Either me or my dear friend
33:39I have a feeling that many world wars are coming.
33:41The coming period
33:48Hitchi Cook will win the hearts of American moviegoers
33:50And they will see that this is the British guy.
33:52What's coming next will change the rules of the game for them.
33:54Life, my dear
33:54The academy won't be able to appreciate Hichi Cook's films.
33:57There are reasons
33:58Maybe because it relies on suspense
34:00The game begins with emotions
34:01The basic fear is gone.
34:03Let's talk
34:04An Hitchi Cook will be nominated for an Oscar
34:05Five times and Omar will never take it
34:06Hessizi, let's ask a question here.
34:08Are these really Hichi Cook movies?
34:09Cheap films support
34:11Fear was a basic instinct among viewers.
34:13Or does it carry more meaning than that?
34:17City talk
34:21Ahmed, that's enough.
34:25Ahmed, we know you know how to dance.
34:26Can we continue the episode? I'm really looking forward to it.
34:28Perhaps, my dear, the greatest answer to this question
34:30Represented by the film Vertigo
34:32Vertigo means a person's feeling of dizziness
34:34Egyptian lab dizziness
34:35It's as if he's left and the world is spinning around him.
34:37The closest psychological feeling to this physical episode
34:39It is the squawk
34:40Obsession
34:40You feel like the world is around you
34:42It revolves around just one idea
34:44An idea you're obsessed with
34:45Vertigo's protagonist is a detective haunted by the past.
34:48The past in which he saw his friend and his lover
34:50The one who sees two people fall in front of his eyes
34:51And he couldn't save them both times.
34:53That's because, my dear
34:54Alfred Hitchcock
34:55King of Horror
34:56King of suspense
34:57And action
34:58It scares you and keeps you sitting, not because you're far away.
35:00And that's because, my dear, our hero
35:02He is afraid of heights
35:04My dear hero, he falls in love with only one person.
35:06He resembled his girlfriend
35:06And obsession, my dear, turns her into his lover.
35:08In its form and dress
35:10And the color of her hair
35:10The question here
35:11How can a director visually express obsession?
35:14This obsession is not a material thing.
35:16How do I express it?
35:17How do I express my feelings for his mother?
35:18I've thought about it, my dear
35:19I think we're facing a story that's like a circle.
35:21The past repeats itself and imprisons the hero within it.
35:23The one who tries to turn the present into a future version of the past
35:27A closed circle or a whirlpool that swallows its owner
35:29Heshk knew that what was more important than his story
35:31Feeling
35:32And that's what he'll try to convey to you from the very first moment.
35:34From the first time we see the Tatars, we see the uncle of the cycle.
35:37A spiral vortex emerges from it
35:38And the film's title appears.
35:39Even my dear friend, what you hear is a matter of turmoil.
35:41Mentioning the Tatars, two melodies
35:43A tone rises and a tone falls
35:45Frequent notes on some
35:46It's like a closed spiral
35:47When a certain shape or idea is repeated within the film
35:50Call it motif
35:52The vortex motif
35:52Alfred Hitchcock will repeat it several times in the film
35:55The simplest details of the actress's outfit and hairstyle
35:57Or even the shitty places
35:58The whole time I felt like the movie was a hypnotic session.
36:02He imprisons the inside in a circle
36:03But as a director, he amplified this feeling.
36:06Through the events themselves
36:07My dear Hitchcock, he'll literally remake the film.
36:09All the scenes where the hero is cheating on his first love
36:12She'll hurry, that's it.
36:13But what is he doing?
36:14Perib resembles his beloved
36:16Everything that happened will be repeated in front of you exactly the same.
36:18It's like Hitchcock is telling you
36:19Look, my son, I'm living the life of my hero.
36:22I'll make you crazy
36:23I'll make you feel the same sense of security that he felt.
36:26So you can understand his obsession
36:27In the scene where his new girlfriend transforms
36:29Her appearance and hair dye
36:30For the appearance of his deceased lover
36:31The camera will pan around them
36:32So you know this isn't a romantic scene
36:34no
36:35Ndayra and Tet3ad
36:36The biggest proof that we are trapped
36:37Joh Wajdan is a hero obsessed with his idea.
36:39At the time when the events are the same
36:41League Zoom technology
36:42It will then become a registered trademark in the name of Alfred Hitchcock
36:46Look, my dear, at this scene with me
36:47You are watching a normal scene
36:48But suddenly the background recedes
36:49At the time when the character's perspective was previously in place
36:52As a viewer, you feel dizzy
36:53The problem here isn't with the camera.
36:54The problem lies with the protagonist whose perspective is distorted due to his obsession.
36:57Site and Sound magazine described the film Vertigo
36:59It is the greatest film in the history of cinema.
37:01A visual and auditory journey into the brain of a fanatic
37:05A psychological journey into a troubled mind
37:07All psychological films were influenced by Vertigo.
37:09What Scorsese himself said about him
37:10Everything you see, you learn something new.
37:12May his house be destroyed and his mother's nest be ruined.
37:14It's impossible, he's crazy
37:16Perhaps, my dear, we can summarize Hitchcock's philosophy
37:18Specifically, his view of the scattered
37:20With his most important film, Rare Window
37:22No movie, my dear
37:23And we swear to God, within his film in the episode, God willing.
37:25He's circling around a man with his legs crossed.
37:27He can't move
37:28His only means of exerting control is by monitoring his neighbors.
37:30The hero here, my dear
37:31Baz's expression of beautiful metaphor
37:33It is the uniform of the scattered
37:34Trapped in the cinema corset
37:36Incapable of intervening in events and changing them
37:38Like the scenes in the cinema
37:40He's sitting there, watching and making distinctions.
37:41But he is powerless to save the hero who needs his help.
37:44The hero sees the world from a square window
37:47The result here is the movement of neighbors from one room to the next.
37:50The viewer watches the film from the screen square.
37:52The camera cuts from one scene to the next.
37:54The hero is unable to give you an answer
37:55But it can make you feel excited
37:57That, my dear, is Hitchcock's goal.
37:58Forget the answer
37:59He felt the experience and worried with me.
38:01You won't understand the whole picture.
38:02And you are able to intervene in the events
38:04Hitchcock again, my dear
38:05He will summarize his school of cinema
38:07He doesn't direct actors
38:09But he directs spectators
38:11Let's say it again, let's say it again
38:12Hitchcock doesn't direct actors
38:14Rather, it directs viewers
38:16The viewers who described how you played with them
38:18Like a musician playing a musical instrument
38:21Specifically, according to his description
38:22It means an instrument called the organ.
38:23He plays a musical instrument
38:25Egypt, my dear, has some of the most famous directors in the current era.
38:27Christopher Nolan, for example
38:28A beloved and hated director
38:30For the same reason
38:30He's playing with the scenes, my dear.
38:32The movie Inception presents us with a parallel world
38:35Between dream and reality
38:36Anything you can follow
38:37This is the same game that Hitchcock plays in Vertigo
38:40The hero is chasing after the love he lost.
38:42He begins to doubt everything around him.
38:43In Inception, the protagonist is also a prisoner of the past.
38:46He's chasing after his old love
38:47And he lives through the same cycle
38:48Our story, my dear, began with terrifying scenes in the movie Psycho.
38:51If we consider this episode as how to become a Master Us Spence
38:54So now I'll waste your time, Chef.
38:55The heroine's killer in the bathroom is Norman Bates.
38:58The shy, friendly, and gentle young man
39:01The gentle one
39:01The person who manages the motel does so with utmost diligence and perseverance.
39:04But let me twist blue twist
39:06And to tell you the truth, Norman didn't kill her.
39:09He killed her
39:10But he wasn't the one who killed her.
39:11This is like food, Abu Ahmed
39:12On the coffee shop, Ji returned from behind it.
39:13Shall I explain the Blue Twist to you, my dear?
39:16Guys, just because it's been done this way, you should do the same to it.
39:18Of course, my dear, the one who gives it puts his hand in his mouth and does that
39:21First of all, this movie is bigger than your father.
39:22So I can release the events for you normally.
39:24It means you had some from the seventies
39:25Why didn't you watch the movie?
39:26The truth, my dear, is that Norman has a dissociative identity disorder.
39:30When she died, he refused to acknowledge it
39:31When she died, he preferred to deny it and kept her identity to himself.
39:34And in that moment, Norman transformed into his mother.
39:36Her personality and thoughts were expressed through his body.
39:39So the mother decided to kill the heroine to protect her son.
39:41The one who is the one
39:42Which is Norman
39:43I feel that the dome itself might confuse you, my dear.
39:45Imagine me with the cinema dowries
39:47And they see this.
39:48They tremble at the sight of the bathroom
39:50They're still catching their breath
39:51They fall into the middle of a sixty-minute trench like this.
39:53Oh Narisud, it means the one who was buried alive is the one who killed her.
39:55Oh, Narisud, that means the friendly one.
39:57His mother was the one who rode him, so he killed her.
39:59All the scary ones were killed while gathering
40:01Between a calm, charming, and charismatic presence
40:03With brutality and psychological complexity
40:05From the first Michael Mars in the Halloween series
40:07The lexicon in the silence of the doves
40:09Peace be upon you, my dear.
40:10To our dear friend Sir Anthony Hopkins
40:12All of these complex characters, my dear
40:14I came out of the Normal Beats bubble
40:16My dear, every film relies on suspense.
40:18In one way or another, he owes a debt to the general public of Kenchi Cook.
40:21Not just suspense
40:22Hitchcock taught filmmakers
40:23The camera is long, and they talk through it.
40:25It's not Hali who moves them
40:26They can estimate the value of Zoom in International.
40:27They explain the hero bee's psychology
40:29With a simple game in editing
40:30They take us inside the story
40:31Or, for example, by hiding a certain hand
40:33They transform fragmented scenes into long, drawn-out scenes, trapped within them.
40:361968
40:38The Academy will honor Hitchcock with an honorary Oscar.
40:41Because this man's influence will be much greater.
40:44From the blessings that he receives
40:45Alfeld Hitchcock's name is now engraved
40:4753 films, my dear
40:4953 films
40:50In 50 years, half a century, they changed the history of cinema.
40:53Outside of cinema, the word "Hitchcockian" has become a term
40:56It expresses suspense, anxiety, and enjoyment.
40:58This story is Hitchcock, this episode is Hitchcock
41:01Whether you heard this word in a football match
41:03Or in the style of a writer
41:04Or in a twist, within its story
41:05Hitch Cook will say the logic is great.
41:07Yes, like
41:08But imagination is much greater
41:10That's why a child's imagination is imprisoned
41:12Five minutes in the cell
41:13I think this lockdown will last forever.
41:15You created for us, my dear, a genius artist
41:17He was able to transform his fears and our fears into art.
41:20Five minutes of terror
41:21They will create art that will live forever.
41:23That's all, my dear.
41:24Finally, but not last
41:25Hospital from the previous episode
41:26Watch the next episode
41:27We download the correct sources
41:27Even if we're on YouTube
41:28Subscribe to the channel
41:29That's all, my dear
41:30There are no signs, movements, or anything of the sort.
41:32You know, my dear
41:33Hitch Kokok when he goes to the bathroom
41:34What is he doing?
41:35He goes out