Film Analysis Of Rear Window By William Hitchcock

it is the start of the story. The window fills the whole frame of the

After the camera shows the viewers the inhabitants of the community, it lands on Jeff. First, it shows all of Jeff’s photos from his travels. These show the viewer that Jeff is a photojournalist and travels often. Next, it shows his broken camera. Finally it shows a cast reading “Here lies the broken bones

Hitchcock uses many techniques throughout the film “Rear Window” to convey suspense. The major theme of the film regards Jefferies voyeurism. His intrigue in the everyday lives of his neighbours is viewed as intrusive and morally wrong on principle. However, without this voyeuristic tendency the crime committed by Thornwald would never have been solved. Thus, the audience is lead through emotional turmoil in questioning whether it is wrong to invade someone’s privacy, or just and heroic to solve a crime. We see the climax of the film when Lisa and Stella venture out of Jefferies apartment to investigate the murder of Mrs Thornwald. This leads to a confrontation between Thornwald and Jefferies. These scenes build suspense through the use of detachment, the use of ‘split-screen’, ‘red-herring’ plot devices, lighting, music and diegetic sound.

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.

Rear Window is compelling, clever, and utterly original. Hitchcock helps us share this obsessive curiosity, and draw our conclusions directly parallel to the characters in the film. The unique montage of imagery helps define our characters, and expose their vulnerability, their identity, and their own self-discovery

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

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.

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.

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,

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

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

Within Alfred Hitchcock’s “Rope” (1948) and “North by Northwest” (1959), Hitchcock employs the use of various camera techniques such as establishing shots, long-shots and shot-reverse-shots , specifically in “North by Northwest”, hidden cuts and long-takes specifically in “Rope”, combined with other Hitchcockian trademarks such as character close-ups and dolly shots, that intermix with impeccable manipulation of various elements of mise-en-scene to create meaning in the respective stories of both these Hitchcock films. Hitchcock utilises various establishing shots throughout the progression of “North by Northwest”; “North by Northwest” is a film with multitudinous shooting locations, having been filmed throughout most boroughs of New York City, Chicago, California and South Dakota ; a

Little Miss Sunshine (2006), co-directed by Jonathan Dayton and Valerie Faris, follows a dysfunctional family on their journey to get their 7 year old daughter to the finals of a beauty pageant across the country in their VW bus. The film was nominated for 107 awards including the Academy Award for best picture and the Golden Globe for Best Comedy Motion Picture, and won 68 awards including the Academy Awards for Best Actor in a Supporting Role and Best Original Screenplay. This middle class family from Albuquerque, New Mexico consists of Olive (Abigail Breslin)- an awkward little girl with high hopes of being a pageant queen, Richard (Greg Kinnear)- a motivational speaker failing in life, Sheryl (Toni Collette)- a mother of two who is

Sometimes we fail to realize the impact we have on the lives of strangers. Something as small as spare change has the power to impact the way a strangers entire day turns out. The silent film, “Change”, starts with an overhead extreme close up of an unseen stranger’s hand shaking spare change, walking down a city block. The shot follows them walking down the street, following their point of view until they come to a complete stop at an can on the ground with a few coins and crumpled dollar bills in it and looks around it to see original works of art on display. The unseen stranger looks up to see a young black woman dressed in slightly tattered and old clothing. She sits behind the art display, silently working on another work of art as people glance at her and keep walking. The unseen stranger stops jingling the change in his hand for a beat before putting the rest of his change in the can in front of the artist. The artist hears the jingling of the change in her can and looks up from her art with a soft smile and light eyes. The two strangers share a comfortable silence, gratitude in the artist’s eyes before the camera turns to reveal the stranger’s face and goes close on the warmth of his eyes. The stranger smiles and walks away. The camera stays with the artist.