Alfred Hitchcock's Rear Window Essay

Alfred Hitchcock (1899 – 1980), the “Master of Suspense”, was a English film director, who was well known for his use of suspense and psychological elements to shock and surprise his audience. Hitchcock was known for his use of recurring themes, motifs and plot devices, such as the use of birds, hand motifs, the audience as a voyeur, mothers, blonde women, and sexuality. He was also very technical in his editing, using filming techniques such as deep focus, point of view, close up and wide, tracking shots. Montage was also a technique he used frequently in his films. He believed that by using visuals, he could convey thoughts and emotions just as well as dialogue could.

After the camera shows the viewers the inhabitants of the community, it lands on Jeff. First, it shows all of Jeff’s photos from his travels. These show the viewer that Jeff is a photojournalist and travels often. Next, it shows his broken camera. Finally it shows a cast reading “Here lies the broken bones

The two serial killers shared similar childhood traits. They both experience abnormal things in their early life. Jeffery was born into a beautiful family, but after getting surgery for two hernias he became different. Especially after his baby brother was born he became distant from

Throughout Jeffs time at this so called “prison,” he is constantly being stripped of all of his freedom, as well as his feelings. Although he is a convict, many of the experiments taking place on him are inhumane; it becomes increasingly clear in the dialog between Jeff, and the head scientist at this prison, Abnesti. Towards the end of the story, when Jeff is reluctant to give Heather the “Darkenfloxxed,” Abnesti is quoted saying, “Do I remember birthdays around here? When a certain individual got athlete’s foot on his groin on a Sunday, did a certain other individual drive over to Rexall and pick up a prescription, paying for it with his own personal money?” Abnesti is using his minuscule good deeds in the past to prove that he is still on Jeff's side; indicating that Abnesti is an unstable human being, who does not feel how wildly this experiment has gotten out of hand. Also, he is

Jeffrey's imprisonment was very literal, but also a reflection of the constricting forces acting on any soul that has been denied it's humanity. In The Academic Postmodern and the Rule of Literature, David Simpson declares that "humanity cannot be realized without the dignity of that the relevant person first being acknowledged". In prison, Jeffrey reflects on the visionary alternatives, saying "And I will emerge again from between the legs of my mother, a slighter and more beautiful baby, destined for a different life, in which I am masterful, sleek as a deer, a winner" (64). Clearly, because Jeffrey never experienced any form of human kindness or validation that might point towards the acknowledgement of his dignity, the essence of "winning" was never possible for him. His humanity was confined to a figurative cage while his body was constricted in a very literal one. Simpson is saying that had someone bothered to acknowledged Jeffrey's dignity, he would not have lost his sense of humanity and murdered his boss, resulting in his literally and metaphorically permanent imprisonment.

Although Big Jeff is very compassionate towards his family, unintentionally, he is not letting his cousin, known as Little Jeff Purcell, have his own identity. Big Jeff is oblivious to this, and is doglike in his loyalty to his cousin. "He haunted his room and patiently endured his abuse just to sit in the corner and watch him shave

In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The

     Hitchcock uses misery, tragedy, and death to show the emotions of his characters. At no point is this more obvious than the end of the movie. Hitchcock spends the entire movie building up to this point and in the end he makes it extremely clear how tragedy has changed the relationship of everyone. After the nagging husbands murder of his wife has been confessed you see

In Alfred Hitchcock's 1954 classic thriller Rear Window, Jimmy Stewart stars as L.B. Jeffries, a world traveling magazine photographer accustomed to living a fast pace active lifestyle. When Jefferies injures himself taking a risky picture he is immobilized, confined to a wheelchair inside his apartment for two months. Bored with his uneventful life he becomes completely obsessed with the lives of his neighbors spending the majority of his waking hours watching them from his window. To obtain a better view he begins using a telescopic lens from one of his cameras. By watching his neighbors through the camera he assumes the role of both a spectator and a voyeur. This contributes to

Throughout the film, I have to remember that this is a professional voyeur. He is paid to look at people through a lens. So I have to say that looking is an essential part of his everyday life. In a conversation he has with his nurse in the beginning of the film, she tells him that " We have become a race of peeping toms" reinforcing our suspicions about Jeff's part in the narrative.

Rear Window and The Birds were both filmed around the 1960’s a time in which the film industry was experiencing a great downfall. Because there were so many movements going on around the world such as, feminist movements, racial movements, post war movements, political movements etc. many films were not successful and there were many different genres that were being used in films. There were also many different independent films that were produced; this had an influence on American film as well. It is surprising how successful Hitchcock was during this time period where film production was looking grim. In order to be successful in America during this period of struggle Hitchcock had to shy away from the usual style and production of film.

Hitchcock's Psycho Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre. It was more realistic the events could happen in reality.

The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more

Alfred Hitchcock's film Psycho Psycho, by Alfred Hitchcock, was shocking for its time. Made in the 1960's when film censorship was very tight to today's standards, Hitchcock pushed the limits of what could be shown and did with psycho things that had never been done before. The cinematic art, symbolism and sub-conscious images in this film were brilliant for the time and still are now. Realised for this, psycho has been copied in many ways and the things that made it great have become very clichéd.

Throughout cinema, there has always been space in our hearts for the gore and intrigue that come from horror films. Though they come with different plots, there remains “the monster”, the character that brings along disgust, horror, suspense, and even sympathy. In Alfred Hitchcock’s Psycho (1960), our monster is Norman Bates, the boy next door. This was one of the first times in American cinema that the killer was brought home, paving the way for the future of horror movies. According to Robin Wood in “An Introduction to the America Horror Film” (183-208), Bates follows the formula of the Monster being a human psychotic. This is conveyed through his normal façade portrayed with his introduction, the audience’s ambivalence, the use of