Power Shift In Alfred Hitchcock's Film 'Rear Window'

The Next key scene I will be talking about is the climax when the murder is solved. It all starts with the sudden death of a dog that was digging around in Mr.Thorwald 's (the mad from across the courtyard) flowers. This makes Jeff suspicious and suddenly he asks

Rear Window, has always one of my personal favorite movie by Hitchcock because it has everything I want in a movie. A plot full of a possible murder, wonderful character dynamics, interesting characters, the music and the way it was filmed. All speak to me, personally in a way that makes me adore this film. It 's how it was filmed however that really drew me into the movie as a whole, because every scene is so well connected with each and the techniques used were incredible creative. It also had some personal value, as it was one of the first films by Hitchcock that I saw growing up. Rear Window is also particularly known for the themes of voyeurism and sexuality, as it seen in the movie as a plot device due to the nature of the character and the situations they find themselves in. These two themes were brought in so they could complete the film

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

Jeffries realises Lisa is more than just beautiful when she expresses her insightful theories about Laars and his wife, things Jeffries would never have thought of, himself. Lisa contributes "Women don't keep their jewellery in a purse, all tangled... A woman going anywhere but the hospital would always take makeup, perfume and jewellery." Detective Doyle dismisses Lisa's ideas as "feminine intuition" and therefore a waste of his time, however Jeffies sticks by his girlfriend. Lisa comes over to Jeffries apartment unannounced with the intention of "staying the night [t]here, uninvited." This was much frowned upon in conservative, fifties society, especially for someone of Lisa's status, however she doesn't seem to much care, she has her own mind. Jeffries admires Lisa's bravery as she drops off the note at Laars' apartment, something he would have done if he was able. She gets back, glowing with excitement and the look on Jeffries face could only be described as adoration. The power in the relationship shifts to Lisa when Lisa expresses her intelligence and

In the first film Rear Window, we follow a man by the name of L.B. “Jeff” Jefferies, who is currently stuck at home nursing a broken leg. In order to kill time Jeff watches his neighbors from his wheelchair with a pair of binoculars at the rear window of his place. While watching these neighbors Jeff develops several insights to his neighbors ranging from “Miss Torso” a beautiful ballet dancer who is throughout the film shown in a scantily clad, sexual manner to the lonely, depressed woman who attempts a suicide at one point in the movie. The driving point of the film comes

Rear Window (1954) demonstrates how often, the role of women in film becomes purely about how they can inspire a male character, what they inspire in him and how they can affect his actions – becoming almost an object against which the male protagonist can distinguish himself. The female characters in Rear Window (1954) are defined largely in relation to their male counterparts. Characters like Lisa and Stella are given the role of care-givers, doting after the damaged Jeffries. Whilst Miss Torso becomes a visual spectacle; cleaning and tidying in her underwear, dancing, and entertaining various male suitors. Miss Torso is juxtaposed alongside an older female character, Miss Lonelyhearts who is largely assumed as a ‘spinster’ in this

Rear Window directed by Alfred Hitchcock is revered as one of the greatest movies in American Cinema; every shot and plot point in the story considered a work of art from the creative mind of the ambitious director. Due to this, it has been referenced many times in pop culture, TV shows, amongst other forms of media. One of these TV shows is the long-running titan of cartoons, The Simpsons. The episode “Bart of Darkness” is a parody of the whole movie, using the camera angles and plot points from the movie for comedic and mocking purposes, yet in its own peculiar way pays homage to the source material and Hitchcock with respect.

To conclude, it is evident that the film Changeling mostly presents highlights of the historical crimes that occurred during the 1920s. This film offers some, but not all, the accurate facts and details that pertain to the Wineville Chicken Coop Murders, the scandals of the LADP in the early 20th century, and the case of Christine Collins and her missing son. A good amount of creative liberty was taken by filmmakers to produce this movie and make it more appealing to mass audiences. Due to this, it is clear to see that this movie should be taken lightly by viewers as only for entertainment purposes and not for true historical reference.

Rear Window directed by Alfred Hitchcock, tells a story of a cripple middle-aged man practically stalking his neighbors from the rear of his apartment. This man is a professional photographer referred to as Jeff. He is so dedicated to his career he breaks his leg while attempting to get an action shot at an auto race. This film came out in the fifties therefore; Jeff didn’t have much technology to play around with. He spent all his time observing his neighbors; he would even fall asleep in his wheel chair some nights.

Internal Desires: A breakdown of Alfred Hitchcock’s impulses Alfred Hitchcock was a man of many talents, and one of those was his ability to convey a theme. The themes displayed in his films were all over the spectrum in terms of their morality, but nonetheless conveyed something extremely relevant to the viewers life, or in some cases Hitchcock’s own life. There is an underlying theme in many of his works, sexual tension. This tension was often the result of his relationship with the actors. The sexual tensions found in the film Rear Window and other films, are not only a reflection of the characters emotions, but also what appears to be Hitchcocks own impulses and desires.

When Jayde met Jeffrey ;mildly handsome, charming,affectionate, her junior year of high school, they were at first friends. But it will soon turn into a committed relationship. In her senior year of high school, Jayde thought her relationship with Jeffrey will remain positive, she sees that Jeffrey has a darker side. After Jeremy has gone missing, all eyes go on Jeffrey. Jeffrey was the last to be seen with Jeremy, 6 more people go missing with an anonymous killer on the

Mildred is punished for female power with the death of Kay who also resisted patriarchy by being a tomboy; Veda finds herself behind bars for believing she is entitled to power and committing adultery. In the end, Mildred reconciles with her husband; as they walk out of the police station into a golden dawn, it signifies the restoration of patriarchal order. In contrast, maternal abjection in Thirteen does not reduce the symbolic signification of the female. Melanie succeeds in subduing Tracey’s who feebly resists the restraining if loving embrace of her mother. With this act of containment, Melanie takes on a significance that counters her symbolic castration. In the last scene, Tracey waking up next to her mother and sun rays beaming through the window indicates a bright new day with new

Lisa (Jeff’s partner) justifies her views by saying, “Lots of wives nag and men hate them, and trouble starts – but very, very, very few of them end up in murder –” to which Jeff replies, “It’s pretty hard to stay away from the word (murder) isn’t it?” reflecting what the audience of their context might have been thinking. Family values are embedded into the minds of people of that context as Stella (nurse) holds a belief that; “A man is always ready for marriage – with the right girl.” Marriage and its importance in society is a pinnacle concept as all subplots seen in the windows Jeff looks through, concerns relationships and/or marriage. Hitchcock has achieved his purpose of challenging the conventions and scrutinising values through his specialty genre.

Hitchcock shows in these sequences that he has a deep understanding of the human mind and represents here the “worst aspects of traditional marriage, [with] the woman owned, dominated, tyrannized, and eventually beaten by the husband.” (Wood 279). These portrayals are not only incredible representations of reality, but they highlight the astounding contrast that exists between these relationships and Hannay’s, as well as opposing the wives against the single women. In fact, both Annabella and Pamela enter a relationship with the hero and they both remain somewhat free, at least until one of their deaths. In Pamela and Hannay’s, at first, forced relationship, there is the concept of a wished equality between genders. However, within the time frame of the 1930s, this hope cannot be completely realized. In fact, it is Hannay who continues to lead the way, making decisions for the both of them, and reproaching Pamela when he does not agree with one of her decision. He has the position of power and is not afraid to lie and threaten in order to keep it.