Alfred Hitchcock's Rear Window

Music has played a major role as an agent of socialization in each of my 4 decades. I know and hope that it will continue to do so. During each period music has affected my personality, shown my personality, affected my perceptions and helped me to cope with growing and changing as a person. My Looking Glass Self has compared the person in song and possibly the singer themselves to myself to gain perspective of who I was at each time. I am going to discuss each decade with the thought of how music was an agent of socialization in each.

Major Actors: James Stewart (L.B. Jefferies), Grace Kelly (Lisa Fremont), Wendell Corey (Thomas Doyle), Thelma Ritter (Stella), Raymond Burr (Lars Thorwald), Judith Evelyn (Miss Lonelyhearts), Ross Bagdasarian (Songwriter), Georgine Darcy (Miss Torso), Sara Berner (Woman on Fire Escape), Frank Cady (Man on Fire Escape), Jesslyn Fax (Miss Hearing Aid), Rand Harper (Newlywed), Irene Winston (Mrs. Emma Thorwald), Havis Davenport (Newlywed)

Music plays a critical role in the narrative films as it is important technique that filmmakers use to support the narrative and influence the way that the viewer interacts, responds and interprets the events as they unfold. The godfather, which is one of all time Hollywood movies, represents a good use of music that succeeded in supporting the dramatic events that take place in the movie. Moreover, both diegetic and non-diegetic music in the godfather movie are used to achieve the overall purpose by using the different principles and functions of film music that range from setting the mood of the viewer to providing continuity within the movie. In this essay, we will take part of the godfather movie in which we can observe and analyse the

Alfred Hitchcock’s Rear Window is a uniquely captivating film that is an exemplary style of cinematic craftsmanship. Reaching into the minds of the characters, as well as the audience, Alfred Hitchcock is the master at utilizing the juxtaposition of images to bring us into the minds of the characters. In Rear Window, the story is so distinctively executed that it allows us to relate to our own curiosities, question our identities, and ponder our closest relationships. What is happening on the screen is merely a projection of our own anxieties, our own existence, and our self-ambiguity as portrayed by the characters in this wonderful film.

For as long as mankind has walked on this earth, music has been an important part of our culture and lifestyles. Each walk of life beats to a different drum. Different cultures use music for many aspects of their lives; for religious purposes, for celebrations, for comfort, for sorrow, for relaxation, for sports, for dances, for energy, for learning, for sleeping, and for sexual experiences. Everyone uses music for something. Music connects with people and reaches them in ways that words simply cannot. Music is a representation of what feelings sound like. It expresses emotion and brings that characteristic out from within us; it tells us a story. Every generation has its’ own sound and different music styles have emerged and become

Like many of his films, Alfred Hitchcock’s Rear Window (1954) is an intense study in the sometimes-jarring idiosyncrasies of its main character, L.B. Jeffries (James Stewart). Jeffries is an observer by nature, a professional photographer confined to his apartment by an injury, with only insurance company nurse Stella (Thelma Ritter) and his girlfriend, Lisa Fremont (Grace Kelly) for company. This limitation impels him to begin observing his neighbors, and he witnesses events that lead him to believe Lars Thorwald (Raymond Burr) has murdered his wide. However, Jeffries’ watchful habit raises serious questions about the relationships between neighbors and ethics of observation in densely-populated urban settings. Rear Window uses set design and disparate camera techniques to codify the acceptable and unacceptable ways in which a city dweller might observe their neighbors, based largely on level on intent.

Gender ideologies are apparent in all areas of life. Whether it be online, in TV shows, movies or in person, this idea of a specific role for each gender is almost inescapable. The stereotypes of both what women and men should aspire to be and follow are ever changing in today’s current society. However, in 1954, gender roles were very specific and it is shown throughout the film, Rear Window directed by Alfred Hitchcock. Through this film, gender ideologies are challenged but ultimately remain unshattered. The film produces an obvious view of women as the caretakers, and fragile in comparison to men who are the main providers. As the plot of Rear Window develops, characters continue to maintain the time periods gender ideologies despite the challenges they overcome.

During times of disorder, it is natural to feel a sense of fear and loneliness that requires you to search for control in your life. These emotions send you to the point of having to isolate yourself, as you believe if you do so, you have control over your life. In Alfred Hitchcock’s 1963 psychodrama film “The Birds”, Melanie is a young woman who travels to Bodega Bay to reunite herself with a stranger by the name of Mitch. Melanie uncovers that he had a romantic relationship with Annie, the woman she claims to have come to town for. Annie advises Melanie that her relationship with him did not last due to Lydia, his mother, fearing that he will leave her now that her husband has passed away. As Melanie and Mitch’s relationship begins to develop, birds within the town being to attack them along with everyone else who lives in Bodega Bay. Melanie, Mitch, and the town’s people begin to question why the birds are attacking them. Annie’s body is discovered outside her house as a result from her being killed by birds. By the end of the film, Melanie and Lydia have a close relationship leave the bird infested town with Mitch and his sister Cathy. Alfred Hitchcock uses the these three women to remind us that chaos will always enter our lives no matter what actions we take to keep order, but deep relationships will help overcome the feelings of fear and loneliness.

“We all go a little mad sometimes,” and that could possibly be exactly how many feel after watching Psycho, released in 1960, and directed by Alfred Hitchcock. Hitchcock took a different route in terms of plot and structure for the typical Hollywood style. Psycho, like a young child never stops asking questions, it leaves us in a state of doubt and unbelief. It is classic horror, with the numerous jump scares leaving us at the edge of our seat, as every moment passes. Yet in the beginning, it 's seems to portray a rather classic form in a sense, a near-Aristotelian story. A woman who appears to be the main character in love, who is then faced with a problem, not enough money to marry her love, who then steals money to help build a future

only what he wants us to see, and shows us the scenarios from the eyes

Alfred Hitchcock’s 1954 ‘Rear Window’ is full of characterization, narratives and symbolism. The film focuses around the main character of the story, Jefferies, who is a photographer but unfortunately recently has to use a wheelchair and stay in an apartment because he broke his leg. Jeff has to spend time alone, so he spends his time watching his neighbors through his camera. Due to the warmth of summer most people had to open their window so now Jefferies can see what is happening in their life. It’s like he is watching multiple films at the same time. A free cinema for Jefferies. The view of that window and Jefferies’s apartment is all the viewers have.

Alfred Hitchcock’s Rear Window, is the story of a photographer named L.B. Jeffries who is currently confined to a wheelchair because of a leg injury and therefore unable to leave his apartment. Out of boredom, he begins watching his neighbors, going as far as to name them and come up with scenarios for them. He seeming has all control and all from the comfort of his apartment. His girlfriend, Lisa, whom he deems “too perfect” and is unable to commit to her fully, is not as interesting as the lives of his neighbors; that is until she herself becomes interested in them as well. Laura Mulvey and Tania Modleski have both written about Rear Window and the way it either follows the normal gender roles or contradicts them. Despite being interested in similar subject matter, the two women have differing opinions on the approach of the film; is Lisa the passive object or the active agent? (Modleski, 723). The arguments presented by both women cause the viewer to not only see this film as a critique on movie viewing but on the male gaze and whether or not the man is truly in control of the world he sees around him.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” (Tiffin). That’s why there’s no surprise that when Hitchcock finally made his first color film, he began to use color as another way of communicating with his audience.

Music is one of the greatest human creations (DeNora, 2000). It plays an integral role in human society worldwide irrelevant of race, gender, age, wealth or well-being (Kemper & Danhauer, 2005). Indeed according to Batt-Rawden (2010), playing different music in diverse situations can introduce listeners to the desired and relevant atmosphere. In most circumstances, music is played to entertain people, but it can also form part of an accompaniment in sad situations. Music is often the fulcrum that influences the listener by creating a unique ambience and atmosphere (Bernatzky, Presh, Anderson, & Panksepp, 2011). Chamorro-Premuzic and Furnham, (2007) adds that music can be a medium to enhance communication,