Alfred Hitchcock’s Rear Window Essay

The mise-en-scene of this shot hints at important information about Jeffries, his neighbors, and the neighborhood in general. But what the camera does tells us something much stronger: Rear Window is a film about voyeurism, and a commentary on audiences watching drama on a screen.

Marriage is oftentimes praised for all its good qualities, but people tend to avoid discussing the downsides of marriage in order to avoid discomfort. Confronting the problems that many couples face in marriage is hard, and most people find it easier to simply overlook any issues they may face to avoid furthering the problem. In “My Problem With Her Anger,” Eric Bartels elaborates on the struggles he and his wife face and what experiencing the effects of spousal anger feels like from a husband’s perspective. Through emotional appeal and anecdotes, Bartels semi-successfully argues that husbands are too often, and unfairly, on the receiving end of their wives’ anger and stress.

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.

The film Rear Window, released in 1954, and directed by Alfred Hitchcock, portrays the shift of power in the relationship between the central characters of Lisa Freemont and L.B. "Jeff" Jeffries throughout the film. As the characters are introduced in the beginning of the film, Jeffries is shown to have control of the relationship between himself and Miss Freemont, the power later shifts to Lisa as the film progresses and she takes an interest in the suspected murder. However, the film ends with relative equality within the relationship, after Lisa's intelligence is discovered by her partner.

In the movie, Rear Window, Alfred Hitchcock uses the story of a cripple free lance photographer, Jeff Jeffries, to explain the twisted sense of society in the 1950’s. Hitchcock uses clever things from the way the apartments are being filmed to the dialogue between Jeffries, Lisa, and Stella to show societies interest in pain, tragedy, and discomfort, and in the end you see how tragedy is what makes everyone happy.

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

In a conversation he has with his editor from the magazine, he tells him that he has to get him out of there before he does something drastic. Then the camera shows us the Thorwald's house, taking us where Jeff's look is pointing. "Can you just see me rushing home to a hot apartment to listen to the automatic laundry and the electric dishwasher and the garbage disposal and a nagging wife?" We immediately see the image of Anna nagging.

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 1954 film “Rear Window” demonstrated a suspenseful and terrifying storyline, which captured the attention of a variety of audiences. The film focuses on James Stuart (Jeff) and ultimately his neighbors who live around him. Stuart is crippled from the beginning of the movie and is unable to leave his apartment. Due to his immobility, he remains confined in his home with a broken leg and begins to watch his neighbor’s particular behaviors and routines. The film progresses into drama and suspense that is seen through music, lighting, film editing processing and extensive detail to the neighborhood being watched. Rear Window exhibits these details in the scene where Grace Kelly who plays the role of Lisa, attempts to

going back to the other views to see where the policeman is and how is

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.

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

The occasional evenings out with the family provided Hitchcock an early experience with plays and variety shows before schooling and thus he developed a deep love for theatre and its glamorous, attractive make believe world. In future this led to his interest and career in movies. Playgoing also influenced the contents of his movies such as theatrical settings and role playing. Hitchcock was enrolled in St.Ignatious College London run by Jesuit Priests after briefly attending a couple of other catholic schools. Noted for rigorous approach to education and discipline, Jesuits routinely administered corporal punishment that strengthened Hitchcock’s fear of authority. The contact with Jesuits brought orderliness and control in his life about

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.