Spellbound Dream Sequence

As the viewer, I understand when the dream sequence begins, because it is clearly shown through a fade to black transition to the next scene. It's then shown through a fade from black into seeing all these eyes. Hitchcock used Dali as the designer for his dream sequence, and the combination of both their unique styles had a really good effect on the viewers in 1945. The zoom into one of the eyes keeps the reader intrigued and expecting something to happen. Instead, another shot of all these eyes, staring at the viewer, including them in the film. The camera never stops moving; in different directions with each overlapped shot. Another shot then fades in, and the eyes fade out, to be replaced by a stage surrounded by eyes. It zooms in to a stage full of people playing musical instruments. A close-up of the musicians fades in and the camera carries on zooming in. The camera then fades into close-up of an eye on the stage, with some man using giant scissors cutting it up from the viewers right to the viewers left; revealing another eye underneath the cut away eye. Another shot appears in the pupil of the eye, and the camera zooms in until a fade from back ends the dream sequence. All the transitions in this sequence fade and go to and from black. This helps the viewer understand that this IS the dream sequence. The lighting is very dark, even though it is a black and white film. There is a lot of contrast and dark moments, which help the viewer understand the surreality of the dream sequence. The mise-en-scene is interesting because Hitchcock and Dali's surreal dream sequence works really well in this scene, bacause the viewer clearly understands there is a dream going on; which is what Curtis and I need to be careful of not confusing the viewer and disrupting the continuity.