Analysis Of Alfred Hitchcock's Rear Window

In this scene in Alfred Hitchcock’s 1983 thriller Vertigo, he uses Pictures to bring out a Supernatural feeling to the movie. In the scene, you see things like uncanny comparisons and un-behavior like actions, which can contribute to the claim that the movie has some supernatural elements.

For example, the movie only mentions that Christina had found her mother’s letters, but it never really went into detail as to what they said, something which is very important to understanding the rest of the story. Something else is the fact that the movie ended off with Christina’s mother telling the police officer of her boyfriend hitting Christina. Even though I didn’t really care for this ending, I think it was a very interesting and creative idea of the group members to end the movie off on a cliff hanger like that. Finally, one other problem with the movie was the aesthetics of it. In some scenes, you could hear the cameraman saying “action” or something similar, and the camera was also quite shaky at times. Overall, I think that the movie came out fairly well. It gave viewer an idea of what the story was about and also intrigued them by cutting to completely separate scenes sometimes and ending off on a cliff hanger, and even though some small details were left out, I think it ended up being an entertaining and compelling

Overall I found the movie to be quite interesting and exciting at times but a bit slow in others. The story itself was very clear to me and didn’t cause any confusion. It had a good flow also, just as you were on the verge of falling into boredom with a scene they switched it up on you to keep you

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

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,

One important technique used in The Rear Window is the panning camera. In the opening sequence, the camera tracks out through Jeffrey’s window to the opposite apartment building. A panning camera then zooms in on a set of steps in the courtyard, and then backs off while still panning to a shot of a man. The audience is then introduced to the protagonist, Jeffrey, sweating in his wheelchair. The shot then moves back to the opposite complex, panning from window to window, giving insight into the rooms’ inhabitants.

Jeff the protagonist is a photographer who broke one of his legs and is sitting in a wheel chair by his apartment window. Having nothing to do, Jeff gets really bored. He starts to peek at his neighbors from his rear window. With his eyes he

Rear Window directed by Alfred Hitchcock is revered as one of the greatest movies in American Cinema; every shot and plot point in the story considered a work of art from the creative mind of the ambitious director. Due to this, it has been referenced many times in pop culture, TV shows, amongst other forms of media. One of these TV shows is the long-running titan of cartoons, The Simpsons. The episode “Bart of Darkness” is a parody of the whole movie, using the camera angles and plot points from the movie for comedic and mocking purposes, yet in its own peculiar way pays homage to the source material and Hitchcock with respect.

People like to watch other people and are often quick to make judgments from what they see. This is what L.B. “Jeff” Jeffries does Alfred Hitchcock’s “Rear Window”. Jeff is a wheelchair-bound photographer who is used to an active lifestyle. Because of his boredom, Jeff spends his time looking out his window and watching his neighbors go about their life. However, Jeff does more than watch, because he at the same time he is also making judgments about who his neighbors are and what they must be like. This leads to Jeff becoming obsessed with the disappearance of the wife of his neighbor Mr. Thorwald, because he believed that he murdered her.

The Lovely Bones is a bone chilling film about a 14 year old girl, Susie Salmon, who was murdered by her creepy neighbour. Susie watches over her friends, family and her killer from a place called, “The In-between”, which is located between heaven and earth. She watches over them because she has unfinished work to do; kiss a boy from her school that she has a crush on, and to indicate to her family who her murderer is. From start to finish, this film is full of suspense, drama, heart pumping activity, love between a father and daughter, humour and the love between a teenage boy and a teenage girl. I personally enjoy watching films about murder so I believe there are more strengths and positive things about this film than weaknesses and

Rear Window is a great thriller, and a great movie. It is thrilling and exciting without having the overly serious tone of most other thrillers. Unlike other films of the genre there is campy feel, yet that doesn’t deter the edge of your seat feeling the this film creates. Rear Window is an oddity, it’s a light-hearted murder mystery that takes place from one setting, yet very effectively pulls the audience into the experience. There is a constant did he or didn’t he feeling that keeps the viewer guessing up until the final dramatic conclusions.

When looking at the Netflix production of their show named Bates Motel, they examine the early life of the main character Norman Bates. It is a spinoff of Alfred Hitchcock’s film Bates Motel from the 1960’s. During this show, we see the first murder of Norman is his father, and as the show goes on overtime you can see the different phycological problems of Norman develop into Schizophrenia where he suppresses the murders that he commits in his mind making him dissociated with his crimes and never showing remorse (Schmalleger, 2012). When doing our reading this week, it discussed that some violent dissociated killers would return to the crime or show up at the victims grave site, and this is what made me think of this show to answer this question.

The problems that are entangled in the film's root aren't so prevalent and can easily be ignored, but the film feels a tad overlong in what it is trying to accomplish. Granted, somewhat interesting story underpinned by stellar performances while witty, incisive banter abounds in among frames, but the arduousness has its say later-on. I feel what's so good about this film lies in the fact that it's simply not trying to cross the line and re-invent the wheel, but merely give the viewer a comfortable and darkly comical short-of-two-hours-time-frame; and unsurprisingly succeeds because it has those bits on a string. It's not rousing by any means, and neither is it contemplative or despondent because of its affairs - it could have well been that - but instead prances in uncanny valley territory due to its bravura in making the most of comicality, however glum or repulsive it might

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.

The opening images of Rear Window introduces the audience to J.B. Jefferies apartment with the window curtains rising. The camera is facing outside the window which reveals the small courtyard. After the camera gives the audience a tour of the courtyard, it then shows us Jeff sleeping on his wheel chair. From this, the audience should be able to perceive there is no privacy at all for the neighbors. What one does, everyone is able to see (only if they are observing). The music in the beginning sets the mood, the audience should feel safe and mellow as if nothing bad is going to happen. There is not one suspicion which tells the audience there will be a murder case throughout this film. With that in mind, the theme is portrayed through Jeff’s perspective from his observation of the neighbors. He observes the love life of his neighbors while he is questioning his own