Examples Of Voyeurism In Rear Window

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.

Documentarians often want to get as close to their subject matter as possible. Some documentarians have an insider perspective which ignites a spark to create a piece that illuminates a specific topic or area of study. There are also documentarians that have no affiliation with said subject matter, but want to explore the topic in question. Finally, there are documentarians that have a foot in both worlds. Insider/outsider is a theory in which a documentarian can be close to a subject, but also possess characteristics or traits that make them distant from the topic in question (Coles, 1998). Such is the case with the directors of both Stranger with a Camera and The House I Live In. Due to their own location, both Eugene Jarecki and Elizabeth Barret exhibit characteristics that make them fall into the insider/outsider roles as directors. Robert Coles defines location by stating, “We notice what we notice because of who we are” (Coles, 1998, p. 7). Included in this is, a person’s education, race, class, and gender. Both directors realize they are outsiders and utilize a lens into a world in which they are not otherwise a part of. Jarecki’s lens comes in the form of Nanny Jeter, his family’s nanny from when he was a child. Barret’s lens for her documentary is the community that she shared with Ison. The two directors enter into a world that they are not a part of because of their location, but forge a connection to the subject matter through means of a lens.

The short film by Hitchcock is adapted from Susan Glaspell’s play. However, the short film brings

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.

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

For those reasons, even when he is in a sweet moment with Lisa in his arms, he prefers looking at the outside of his apartment, and even he feels more sexual attraction towards Miss. Torso (Georgine Darcy) through the window than towards Lisa, who is in his arms or more explicit, offering herself in his sofa. Lisa – as Thorvald at the end, represents a menace and when he feels threatened, does not hesitate to take his binoculars (or even the flash), as the only way to prevent danger.

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 this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Hitchcock is known for the “meticulousness of his preproduction, shooting, and editing strategies” (Sterritt 9). An example of this is the filming technique Hitchcock used to illustrate Scottie’s Vertigo; to represent the sensation, the camera would physically move away from the subject while simultaneously zooming in on the subjects. Thus this specific shot was used whenever Scottie went through that experience, creating a specific motif for his reaction. Another strategy of Hitchcock is “his celebrated use of point-of-view shots”, which he employed to unite “physical and psychological identification between spectator and character” (Sterritt 11). This is exemplified in Rear Window, which is seen from almost entirely Jeff’s perspective, thus uniting audiences more with Jeff, and therefore the subjective narrative. This increases solidarity with Jeff, and makes it easier for the audience to adopt Jeff’s discoveries as the truth. Additionally point-of-view shots allow viewers to understand characters more, as seen through Judy’s point of view on her walk in the park with Scottie. Another camera angle favoured is the extreme high-angle shot, which in some cases marks a significant point in the plot; this shot is used to show Madeleine’s fall to her death in Vertigo, the point in the movie that serves as a climax that triggers the narrative

The film, Confessions of a Sociopath, was made by the critically acclaimed director Joe Gibbons. Joe Gibbons is famous for his experimental films, and this film is perhaps his best project to date. The film is an hour long and takes the viewer through real life events that have occurred in Joe’s life. In the film, Gibbons acts as a fictional version of himself where he finds a room full of footage from his life with events that he can no longer recall. The film describes his earlier film experiments, his descent into constructive behavior and his bottoming out on drugs and alcohol. It is intriguing to see a side of a well-known film maker that no one would have thought existed. The film is also greatly intriguing because it is not made in the traditional professional way. The viewer is taken through a series of events that seem normal and completely unscripted. It is also clear that most of the events in the film were shot without the assistance of professional cameramen and directors save for Gibbons himself.

Rolf uses the lense of his camera to watch events without having to participate in them. His wife seeing this realized that he is doing this to protect himself from his own emotions; “I came to realize that this fictive distance seemed to protect him from his own emotions”(Allende 398). His camera’s effects, blocking his involvement, clearly showed that he was protecting himself from his own emotions.

The idea of observing is far from unordinary, it is a common practice found in human interactions as well as character interactions through literature. Often there are multiple interactive characters such as protagonists and villains and their relationships and interactions are a key component in understanding not just the character but the meaning and the theme of the respective texts. In Charles Baudelaire’s The Eyes of the Poor and Edgar Allan Poe’s Man of the Crowd observance is a common theme that both authors focused on. The observer vs the observed, the man at the cafe vs the poor family, the observer at the D-Coffee-House in London vs the irresistible old man, there is constant observing taking place throughout these two texts, but

I arrived at the definition of “voyeur” based on the sentences and the context clues around it. Although it is in early pages of this reading, it makes sense to me that it is talking a sort of people or audience because the context, “Joe can stare at Them, on screen; They remain blind to Joe. It’s almost like voyeurism”. When I first approached to “voyeurism”, I thought I will understand its definition as I finished the paragraph. However, I found another word, “voyeur” that does not make sense to me in the following sentence. I realized that there must a relationship between these two words, and I must need to know its definition before I can fully understand the reading. Before I looked up the definition, I thought it a noun that addresses

Alfred Hitchcock’s 1954 film, Rear Window, explores many dimensions in cinematography. The phenomenal film is well known for proclaiming its voyeurism issues that goes on in today’s society. Even though voyeurism is an act that should not be done, this film portrays it in an affirmative way. Rear Window introduces primary structural components in the first act which sets the mood for the audience to interact with J.B. Jefferies in a way as it is the audiences duty to help him solve the mystery on whether Thorwald murdered his wife or not.