Alfred Hitchcock's Rear Window

In “A Good Man is Hard to Find”, Flannery O’Connor uses grotesque and flawed characters to reflect her own faith on the Roman Catholic Church. Set in the rural South during the 1950s, O’Connor takes readers on a journey from a satiric family comedy to a brutal cold blooded murder. An analysis of O’Connor’s use of religious symbolism and foreshadowing through characters and setting will be conducted in order to better understand her views and faith of the Catholic Church. This paper will also argue the belief that religious wisdom is the key for moral guidance.

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.

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.

If you like football this is the book for you. Michael oher plays football he's a defensive end and he's a beast. He played football for ole miss. Michael had a hard life trying to grow up by himself. His mom never cared about him. The book i'm reading is is The Blind Side. the archetypes for the blind side has a unique loyal sidekick named SJ, rags to riches plot structure michal turn as successful and mentor named lean tuie in the Blind Side.

The film Rear Window addresses cinematic themes throughout the entire film, specifically throughout the last fifteen minutes. The movie ultimately uses cinematography to heavily describe the dramatic plot regarding Jeff, Mr. Thorwald, and the intense discoveries found when eavesdropping from the rear window. Film making techniques such as cinematography, mise en scene, sound, and more are all cinematic elements included in the film that influence aspects of the films stylistic system. The last fifteen minutes of Rear Window are heavily focused on the cinematic elements, specifically the movement, angles and shot duration of the camera during the suspenseful moments during Jeff’s plan to prove Mr. Throwald is a murderer. Mise en scene plays an important role in the entire film, Hitchcock uses mise en scene to symbolize many things; and is also heavily included in the last fifteen minutes of the film regarding lighting, props and more. Rear Window is a tremendously suspenseful film and uses both diegetic and non-diegetic sounds throughout; Hitchcock used more diegetic sounds through the

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

In Alfred Hitchcock’s 1954 thriller, Rear Window, broken-legged L.B. Jeffreys, played by James Stewart watches his neighbors through his back window and becomes obsessed with solving a murder mystery in one neighbor’s apartment, aided by Lisa Fremont, played by Grace Kelly. At first, Lisa does not seem able to fit into Jeffreys’ adventurous lifestyle as a photojournalist, nor does she take an active interest in his mystery. She begins the film being feminine, inactive and seemingly incompatible with Jeffreys. As the film progresses, she becomes a more active participant and demonstrates her ability to integrate into Jeffreys’

Alfred Hitchcock Presents "The Perfect Murder": A Rhetorical Analysis In "The Perfect Murder," from Alfred Hitchcock Presents is a black and white television series aired from 1955 to 1962. It is a story about two brothers, Paul and Henri, they are trying to come up with the perfect plan to get their inheritance from their recently deceased uncle, by any means necessary. The only thing stopping them is their perfectly healthy and stubborn Aunt Rosalie. Aunt Rosalie is very perceptive, stubborn, and not fooled by anyone.

Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film: we find evil in the places we least expect it. Through careful analysis of the bar scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles,

In any neighbourhood, a sense of community is something that is quite often present. In fact, in Alfred Hitchcock’s thriller Rear Window, viewers witness a man progressively gaining a deep comprehension of his neighbours through his deeply-rooted voyeuristic desires to delve into their lives. In its entirety, the film demonstrates through its protagonist how this neighbourhood is too dispassionate and unconcerned to classify as a community. However, Hitchcock’s portrayal of how commonalities between individuals can assist in establishing new relationships, does suggest that on a minute scale, some individuals are more than just “people who live closely together”. Music, more often than not, is a form of art that intends to bring individuals

Auteur Alfred Hitchcock’s suspenseful, darkly comic film, Rear Window (1954) subverts the murder mystery genre to explore the suppressed anxieties and desires of American Individuals and communities. The film is an allegory of their responses to changes in gender roles and domestic life in the post-war era. Hitchcock’s panopticon set subjects the space of a Greenwich Village apartment building to set a point of view of its immobilized protagonist, confined to his small apartment, where he is predilected to spectate others as a form of escapism and an expression of control. Hitchcock challenges the idea of conservative values such as an “active male” and a “passive female” and how Jeff uses his speculations of the performances played out on the courtyard to distance himself from his own fears of

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

I believe that in I Confess, the first four minutes is not only the most important, but it also relates back to the rest of the film perfectly. In the beginning of I Confess the audience is shown several shots of the beautiful povince of Quebec to emphasize the location and then we see a murder and a confession occur in the same night. In this essay, I 'm going to be analyzing the mise-en-scene, cinematography, and sound of the cinematic masterpiece I Confess by Alfred Hitchcock.

At the point in the film when Jeff and Lisa start to consider that their plan is having the wrong consequences, they examine their consciences, a process reminiscent of the Catholic tradition preceding the sacrament of Reconciliation. At the end of the movie, although Thorwald is ultimately penalized with a prison sentence, Jeff, too, must face a punishment, in the form of a second leg cast, for his wrongdoings. Acceptance of repercussions and guilt is a large part of the sacrament of penance, and Hitchcock’s Catholic upbringing definitely contributed to this theme. At approximately the age of five, Hitchcock’s father sent him to the local police station with a piece of paper, requesting that the sheriff lock him up in a cell for five minutes as a consequence for bad behavior. This experience instilled in him a definite fear of sin and punishment. The sacrament of penance and the forgiveness of sins, in particular, were especially important to Hitchcock throughout his life, and he even received reconciliation on his deathbed. The final scene of Rear Window, in which Jeff is resigned to his fate and left to continue observing his neighbors, solidifies his role as just that: an observer. The Catholic imagination of the film’s director suggests that the role of judging others for their actions and punishing them for their missteps belongs to God, not ordinary human beings. In such a morally blurry, complex world, like the one created by Hitchcock, such a resignation and acceptance of guilt makes one much more