Comparing Rear Window And Cornell Woolrich's It Had To Be Murder

“Genres are typical forms of texts which link kinds of producer, consumer, topic, medium, manner and occasion”(Hodge and Kress,1988.). Genre thus presents a set of expectations, to which adherence assists in retaining its identity. However it is also correct that “the boundaries between genres are shifting and becoming more permeable”(Abercrombie 1996, 45). Essentially genre is constantly redefining its boundaries in order to better reflect the historical, social and economic context of society. Likewise, the genre of crime fiction has evolved from its traditional conventions. Alfred Hitchcock's Rear Window and Cornell Woolrich's It Had to be Murder, whilst employing the conventions of traditional crime fiction also simultaneously subvert

The genre of crime fiction reflects shifting social, cultural and political conditions. Each composer is influenced by these shifting paradigms and thus incorporates them into their texts, pushing past the conventions and boundaries set in earlier eras to create new sub-genres. Daniel Chandler in An Introduction to Genre Theory, identifies this phenomenon: "genres change over time; conventions of each genre shift, new genres and sub-genres emerge and others are discontinued." Through my prescribed texts, Howard Hawks' hardboiled film The Big Sleep (1946) and P.D. James' Revenge Tragedy The Skull Beneath the Skin (1982), and related texts, Agatha Christie's classic detective story Murder on the Orient Express (1933)

Alfred Hitchcock's Rear Window continues and expands on traditional themes of the Detective Fiction Genre. In 1841, Murder in the Rue Morgue by Edgar Allan Poe broke the traditional character constraints of the Crime Fiction Genre, by introducing a new type of lead detective figure. The ideal detective figure encompassed traits of superiority, intelligence, wit and a keen sense for observation. The lead detective figure is a sophisticated character that is not bound to the constrictions and limitations of the Law and the exploration of this figure through the use of visual aid and techniques, provides contrast and variation on the common themes within the genre. Hitchcock provides an alternative approach through a new medium carving way

It could be said that The Skull beneath the Skin is quite typical of the crime genre, however P.D. James has somewhat subverted the genre. The novel incorporates a combination of Intuitionist, Realist and Hard Boiled styles of crime fiction. Usually crime novels fall into one of the three afore mentioned styles. Although obviously an Intuitionist or classically styled crime novel, Skull beneath the Skins as I have previously stated incorporates all three creating a unique novel while still following the traditions and conventions of the crime genre. This can be seen from this essay reference will be made to setting, dialogue, characterisation, dramatic irony, humour, narrative structure and the conventions of crime fiction.

Crime fiction is the genre that focuses on crimes as well as the criminals, and their motives. It has several subgenres, including detective fiction, police procedural, and hard-boiled fiction and they interlink and open to interpretation by the reader. Suspense and mystery are essential elements that are omnipresent to the crime genre. In most crime fictions, it’s based normally on a murder, the investigation, and ends with the outcome, which mostly ends with the criminal’s arrest or death. In this essay, I’ll be discussing the different type of subgenres within the crime genre i.e. classic crime, police procedural and hard boiled crimes. As well as stories from Edwards, Isla, Vergara and Diaz-Etervoic, which supports these subgenres to give

Hitchcock’s Rear Window (1954) builds a distinct view of the world and how, in the director’s opinion, men and women fit in it. Through dialogue and mise-en-scene, Hitchcock’s always seems to be making a statement about how men and women should be viewed in his films. Rear Window pinpoints some recurring elements about men and women present in multiple Hitchcock films, where men are shown as damaged and needing help, while women are shown as care-givers. Men are always reluctant to take action, until the desire of the women to solve the mystery presses them into confrontation. Men think women are interested in money or status or success, while women are only interested in love. Love and marriage are also a recurring theme within Hitchcock’s works, and it can be explored through various lenses, but in this essay I will explore it through gender roles and voyeurism, specifically in Rear Window.

This study will compare and contrast the elements of the crime genre in Winter’s Bone (2010) by Debra Granik and The Big Sleep by Raymond Chandler. Winter’s Bone is a story tells the story of Ree Dolly’s (Jennifer Lawrence) struggle to find her missing father through various methods of detective work in her local community. In a similar manner, Raymond Chandler’s novel The Big Sleep defines the criminal investigation of various murders by the detective, Phillip Marlowe. These two plots define the similar use of a protagonist that acts as an investigator seeking to discover the truth of a particular

Having been given an assignment to write about a novel, my choice of it was determined by its genre and theme. I chose a recently published book “Breed” (2012) that was written under the pseudonym Chase Novak, a pen-name of author Scott Spencer. From the outset, I was curious why someone, after writing 10 novels and being famous, would change his name. What was his motive for creating a new name? The only logical explanation, that I see, is to explore the sense of writing in a new genre combining it with a certain theme of the modern world. Having been given a chose to select a novel by our own, I chose a contemporary literary work that I felt I would generally understand and could not only focus on, but also find myself connected to it. Being intrigued by the inside-train advertising signs introducing “Breed” primarily, and later by the resounding endorsement in the premise of this book by Stephen King, I trusted my instinct and the great master of horror, and I was willing to explore something new and was ready to be surprised.

In this essay I will discuss how the change in political and social contexts influenced a more favourable representation of women in neo-noir films and argue that although a change has occurred, there are still patriarchal, misogynist values instilled in the femme fatale. Film noir is often identified by its stylistic elements; low-key lighting, gritty, urban landscapes and murderous plots. Specifically, film noir refers to an era of film from the 1940s to late 1950s and is prominently considered a response to the war. Narratives of these films were all commonly driven by criminality, corruption and sexual desire.

Due to several reasons, this genre was considered as unique and important as well. It gave the contemporary readers the chance to explore one of the worst epochs in the United States and also to learn from the faults of the old generations.

Within the action and suspense of Rear Window, directed by Alfred Hitchcock, the theme of feminism is uncovered. Throughout Rear Window, Lisa Fremont, the female protagonist, is a symbol of feminism due to her character transformation.

Davis’s argues that books in the crime nonfiction writing genre are well written books, and at times even better than fictionalized crime novels because

This thesis has shown how the three novels fit into the genre of dystopian literature. Moreover, is has been shown that genre is fluid and can be redefined. There is not only one genre-box a piece of literature can be put into. The Scarlet Letter would not be a typical dystopian novel, but in context with The Handmaid’s Tale and

Between the first two elements involved in generic criticism, it is easy to determine that “The Girl on the Train,” and other books alike, have played a role in creating a new subgenre. The last element helps many understand why the new subgenre would remain a subgenre rather than becoming its’ own separate genre. This is because it eventually comes full circle to include a similar ending to those movies, books, etc. that are artifacts included in the Thriller genre.

The Oxford English Dictionary defines a genre as ‘kind; sort; style’, ‘a particular style or category of works of art’ (OED). Otherwise, a genre is the process of classification. In relation to The Time Machine and Herland, the quest in each text is different. However, the quest embarked upon in each novel has a starting point of order, follows through to disorder and lastly ends with order restored or a new sense of harmony. Both texts are categorised as Utopian/Dystopian novels. Utopia is defined as ‘senses relating to an imaginary or perfect place’. Dystopia is ‘an imaginary place or condition in which everything is as bad as possible’ (OED). In this essay I will discuss the quest in relation to The Time Machine by H. G. Wells and Herland