![]() ![]() In this new, harsh, modern reality, as scene through Uncle Charlie’s eyes, women begin to more commonly question this male dominated structure. They had niether authority nor agency over anyone else or themselves. They were indubidably thought of as objects men were destined to posses. In the 1800s, women were more concretely held to there position in society. The largest difference between Charlie’s childhood and modernity is the position of women in society. Later deliniated by the main argument of the film. ![]() The ironic sign that says “no dumping” demonstrates a modern disregard for respect and clenliness. They are but empty shells of the fantastical life that once was. The camera cuts to a shot of rusted, old frames of cars that would have been functional in the time of Uncle Charlie’s youth. The modern world appears to be wasteful, dirty, and empty of any meaning. The camera pans to two homeless men, a side effect of unemployment in an urban environment. The waltz scene is immediately juxtaposed by a wide shot of two bridges with angular designs, in contemporary Philidelphia, symbols of modernity. Hitchcock places the camera that captures a glorified image of the late 19th century from the perspective of a child to depict the fantastic world that Uncle Charlie imagines as a much better time than modernity. This shot is at the eye level of the child. The position of the camera scene is not at eye level where it would most naturally be positioned. With this easter egg, Hitchcock asks if the audience is paying attention. One woman, however, is wearing a black dress. Each man in a black tuxedo spins around a woman in a white dress. The opening scene of Shadow of a Doubt features a seemingly infinite loop of a man and a woman dancing to a waltz to the tune of Merry Widow Waltz by Franz Lehár.
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