Movie, Rear Window, By Alfred Hitchcock

The Thomas Crown Affair is a film depicting a very rich man, named Thomas Crown, who struggles with creating meaningful relationships but yet is widely known, and finds entertainment through stealing famous paintings from a museum. Throughout the film the audience creates a relationship with the character, Thomas Crown, and his likeable, playful attitude that soon enough has the viewer siding with him, the criminal, instead of the police enforcement trying to catch him. By closely looking at a scene between Thomas Crown and Detective Catherine Banning, it is possible to analyze both the dialogue and cinematography used for the viewer to understand Crown’s viewpoint, as well as where Banning’s attitude may play in later. By understanding the attitude’s of both Crown and Banning in the film, I believe it can

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 Rear Window, Hitchcock uses visuals in order to capture the perfect cinematic film and experience. We as the viewers identify with Jeff because much like how he is watching his neighbors, we are also speculating his life as a film. Our hero, L.B. Jeffries or “Jeff”, out of boredom creates an outdoor theater for himself by spying on his the people outside his window. Hitchcock uses “murder-as-entertainment” and the idea of watching a cinematic film as ways to captivate the viewers and make us subconsciously take part in intruding on someone else’s life. Hitchcock then punishes Jeff and the viewers for being “peeping toms” and casting our unwanted voyeurism on other people’s private lives. Through fear and embarrassment, Hitchcock puts our actions into perspective as we become self-conscious of our indecent objectification toward human lives.

Not only were the viewers placed there as onlookers but also in the form of the character. Jeffries, is always looking through binoculars searching for clues and information about his neighbor, his wife, and both of their whereabouts during the film. When watching his neighbor come home one day we are placed in the scene as Jeffries, looking through the binoculars with his eyes. Another time we are placed in the scene as a detective. The camera places us there and guides us through scenes. Each time, we are unintentionally and unconsciously looking for information and answers that we were unaware of existing or at the scene in general. The camera even guides us around Jeffries’ neighbor’s room through the binoculars. As his neighbor comes home we view him talking on the phone. While looking at him through the binoculars or Jeffries’ eyes we read his lips trying to read what he is saying to the other person about the mystery on the other line. We are forced to look at him fondling his wife’s jewelry and wedding ring while asking the person on the other line what to do about it. Here, we as the viewer are presents information about the mystery, or the disappearance of the neighbor’s wife and we concluded that there was something inevitably wrong about the situation, proving Jefferies’ assumptions about his neighbor and the murder of his wife to be shockingly convincible. We are led to believe Jefferies’

only what he wants us to see, and shows us the scenarios from the eyes

In Alfred Hitchcock’s 1954 thriller, Rear Window, broken-legged L.B. Jeffreys, played by James Stewart watches his neighbors through his back window and becomes obsessed with solving a murder mystery in one neighbor’s apartment, aided by Lisa Fremont, played by Grace Kelly. At first, Lisa does not seem able to fit into Jeffreys’ adventurous lifestyle as a photojournalist, nor does she take an active interest in his mystery. She begins the film being feminine, inactive and seemingly incompatible with Jeffreys. As the film progresses, she becomes a more active participant and demonstrates her ability to integrate into Jeffreys’

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 ‘Rear Window’ is full of characterization, narratives and symbolism. The film focuses around the main character of the story, Jefferies, who is a photographer but unfortunately recently has to use a wheelchair and stay in an apartment because he broke his leg. Jeff has to spend time alone, so he spends his time watching his neighbors through his camera. Due to the warmth of summer most people had to open their window so now Jefferies can see what is happening in their life. It’s like he is watching multiple films at the same time. A free cinema for Jefferies. The view of that window and Jefferies’s apartment is all the viewers have.

Alfred Hitchcock's 1954 film Rear Window is a representation of the attitudes towards men and women in the 1950's. Through this film Lisa Freemont and L.B Jeffries experience a power shift in their relationship due to each individual's capabilities and ideas regarding the suspected murder case. Lisa and Jeffries' relationship progresses through the film and their relationship experiences a power shift.

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.

Jeff had lost both of his legs in the Boston Bombing in 2013 while going to support his girlfriend, Erin Hurley, at the Boston marathon. There he witnessed one of the bombers, and although he possibly saved many other lives and helped many people find closure, this helpful witness lost both of his legs because of it. Like Louie after the war, post bombing Jeff became depressed and coped with it through alcohol. Jeff could not seem to find the good in the situation after the bombing all he could focus on was his loss: loss of his legs, loss of his freedom, and loss of his independence. He stated in an interview, “and especially when I lost my legs I was like, ‘ Man now what?’

Even though Vertigo was poorly received, when it first aired in 1958 it has since been crowned Alfred Hitchcock’s best film and accomplishment of all time. Vertigo may not be everyone’s cup of tea, but it is a cup of tea that people ought to try. Many of Hitchcock’s films exposes the viewer to scenarios and ideas that people generally try to avoid or sweep under the rug, Vertigo is no exception. This film takes the viewer on a slow-moving but nonetheless, intense rollercoaster ride. It is hard not to find something to deliberate about when it comes to Hitchcock’s Vertigo.

At the same time Jeff was gathering people he saw the exit he help as many people as he could and headed down the stairs with them. When he got out of the building he helped injured

Rear Window has unique filmography. Emphasising the idea of voyeurism and watching others. Observing the first scene instead of beholding the main character or even side characters, you recognize the building of the various apartments and the courtyard and then you meet Jeff. Jeff is a broken man, he lays down sweating, asleep on a chair. But you only catch a glimpse of Jeff, he is not important instead the film focuses on the people in the apartments nearby in the rest of the film he will watch out his window. Through this film, you observe this evolution of the characters through the lens of this beautifully shot film made by the sets and background characters. Without sets, this film would not be exactly what it is. This story is told through its images, music and background characters as much if more than its lead. This is a movie about watching movies and as an audience member, you're watching Jeff watches his neighbors. Hitchcock bluntly tells us we are watching a film. An enormous amount of the film is at night similar to a dark theater this is shown in. Hitchcock shows the audience us through Jeff.

Rear Window is odd in how it is filmed. Emphasising the idea of voyeurism and watching others. You see, this is the first scene instead of seeing the main character or even side characters, you see the building of the many apartments and the courtyard and then you meet Jeff. Jeff you can see is a broken man, he lays down sweating, a sleep on a chair. But you only see Jeff a glance like he is not important instead the film focusses on the people in the apartments nearby in the rest of the film he will watch out his window. Through this film you see this evolution of the characters through the lens of this beautifully shot film made by the sets and background characters. Without sets this film would not be what it is. This story is told through its images, music and background characters as much if more than its lead. This is a movie about watching movies and as an audience member, you're watching Jeff watches his neighbors. Hitchcock bluntly tells us we are watching a film. An emourous amount of the film is at night like the dark theater this is shown in. Hitchcock shows the audience ourselves through Jeff.