Movie Review : ' Psycho '

The big, airy windows are barred shut preventing the narrator from escaping. She can see out of the room but is unable to participate in any of the outside events.

Hyde this happens during then night. The night also makes the story seem more eerie because things can hide in the dark. It also gives an impression that doors lock away the secrets people try to hide. When the maid sees the murder at night it’s as if the window is a shield and you can see them but they can’t see you. It’s keeping you interested because of the horror aspect of the windows and doors/doorways but it could also keep you interested because every time a doorway or window was mentioned you’d know that something eerie is going to soon happen. For example the door that Dr. Jekyll uses (during the day) is very pleasant and nice.

The opening scene in Alfred Hitchcock’s Rear Window essentially acts as one long establishing shot — only rather than establishing just the location of a scene, it establishes the entire film in more ways than one. One particularly important shot in the scene, beginning 00:02:36 into the film, tells the audience much of what it will need to know about Rear Window’s setting, characters, and themes.

Exploring How Alfred Hitchcock Manipulates The Audience In Psycho Alfred Joseph Hitchcock is thought to be, by most, the greatest film director of all time. He was born in Leytonstone, London on13 August 1899. He directed many great films such as The Lodger, The Birds, Sabotage, Notorious, Rear Window, and of course one of his greatest achievements ever, Psycho in 1960. He directed the first British sound film - Blackmail.

The windows show the outside world, showing you what lies beyond the four walls which you are stuck between. Many cases throughout the book result in a woman’s character being trapped and not being able to leave the house they are in. The women then result in looking out the windows only to dream about leaving. “She looked out the window her whole life, the way so many women sit their sadness on an elbow” (11). The main character’s grandmother was trapped in her own house, her husband had stripped her of her freedom and was enable to leave. Windows are tricky, they are sweet like honey showing you the outside world, but in the book the character, then realizes they cannot venture past them so they

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

Many of Asher’s characteristics are exposed through the window as well. When Asher is on the train with Jacob Kahn, he sees his reflection in the window. He tells that, “I spent the rest of the journey looking at my reflection in that dark window of the

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

The first instance of window imagery is deceivingly small and easy to pass over, but upon reflection it creates a certain symmetry by subtly foreshadowing the final window scene. In the very opening section of the book, Clarissa’s departure from the house dredges up memories of her time at Bourton, of scenes with Peter Walsh that took place in front of an open window. This memory, brought about by the impact of the early morning air, also reminds her of the “solemn” feeling this incident gave her “standing there at the open window, that something awful was about to happen.” Though fleeting and lightly discussed, this emotion placed so close to the beginning of the novel seems to indicate the dangerous nature of an open window, which anticipates both Septimus’ death and Clarissa’s later musings in front of a window.

In the beginning of the prologue Beverly became an important character. Beverly connects not only to the house but to the shut and taped up windows. In the household all the windows have been taped up and shut closed, mostly for Beverly's wife Violet, but soon helping the discover the metaphor for the reason they are closed.  Beverly was a very private man and did not share a lot to anyone, thus like the windows being shut and closed off. He held a lot of secrets in his head and in his mind which made him become this

but she has no context to why he is there. The window cuts her off from the mysterious Quint and makes her feel scared because no matter how much of a barrier a window is, one is still able to see through it. And the transparency leaves the governess’s emotions open to interpretation from the

To the right of the screen the audience see a warm glowing lamp, which softly lights the walls behind Marion. This picture, until contrasted with the view of Norman Bates, seems insignificant to the audience and is Hitchcock’s way of building the suspense. Likewise, the objects that surround Norman work to suggest his true nature. Norman is immersed within the combination of straight lines and unnatural low camera angles, a contrast to the curved soft lines of the lamp near Marion. Norman is dressed in black clothing and, due to the lighting, creates sharply constructed shadows that line the walls and ceiling.

One of the reasons that this film made the top ten films of all time

The example of the Open Area is from The Invention of Lying. In this clip, a man and a woman are on a date, during which the woman receives a call from her mother. During the call, she is being brutally honest in her description about her date, at which he tries to hide anger. This relates to the Window because of the woman’s openness about her date. The information shared during the call, while a mix of opinion and fact, is usually information that would be shared away from the other party.