Rear Window ( 1954 ) And Stella Dallas

In Hitchcock’s “Rear Window” Jefferies apartment is the sole viewpoint to the outside world for the audience. We rarely see anything that isn’t from Jefferies immediate surroundings or directly from his point of view. This gives Jefferies, and in turn the viewers, a detached sense of realism from the world of the apartment complex opposite. This detachment is apparent to throughout the movie as many characters state to Jefferies that what he’s doing is morally wrong. However, the line of moral and immoral conduct is pushed as Jefferies continues to watch his neighbours and ultimately becomes directly involved in the plot which he had

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.

Gender roles have been, and unfortunately still are, evident in our everyday lives for quite sometime. Women are often portrayed as sexual objects, or delicate individuals; a body with no brain or strength. These traits are easily found within many novels and movies- old and new. In Alfred Hitchcock’s films, Rear Window and Strangers on a Train, Hitchcock begins his films representing women with the same characteristics as stated above. They are very stylish, attractive and presented as second-class individuals to males. But after examining these two films, Hitchcock does something that many directors in his time would not have dared to do. By making the women the heroine and arguably the protagonist of the storyline, Hitchcock proves to

Many different depictions of gender roles exist in all times throughout the history of American culture and society. Some are well received and some are not. When pitted against each other for all intents and purposes of opposition, the portrayal of the aspects and common traits of masculinity and femininity are separated in a normal manner. However, when one gender expects the other to do its part and they are not satisfied with the results and demand more, things can shift from normal to extreme fairly quickly. This demand is more commonly attributed by the men within literary works. Examples of this can be seen in Tennessee Williams' “A Streetcar Named Desire”, where Stella is constantly being pushed around and being abused by her

The film Rear Window, directed by Alfred Hitchcock, demonstrates the dynamics of love and marriage, displaying positive and negative aspects of relationships. In the beginning of the movie, Jeff observes a newly married couple. Unlike the rest of the tenants, the newlyweds are the only people to draw the shades, despite the extreme heat. The man is seen carrying his wife into the apartment, which symbolizes a happy and loving relationship, something Jeff and Lisa hope to achieve. However, by the end of the movie, the man is seen arguing with his wife, signifying the downfall of their relationship.

In Alfred Hitchcock’s Rear Window, the stylistic elements utilized by the director create a unique availability the depth of information available to both the characters in the film and the audience watching. The entire film is from the perspective of the rear window of the injured photographer Jeff. Jeff, unable to move is stuck with nothing to do but look out his window. As the audience, we are given an objective view, looking over his shoulder as he stares at the lives of his fellow tenants. From the window, we watch as Jeff essentially invades people’s homes with his high-powered photographic lens. In the scope of the entire film this is an incredibly smart tactic because it gives the audience the same emotions that the characters feel. During

Alfred Hitchcock’s Rear Window is a voyeuristic point-of-view (POV) style of filming. The point-of-view captures the intimate details of the neighbors lives through the view of Jimmy Stewarts character L. B. Jefferies (Jeff). Hitchcock set the tone for movies of the POV style. There are many films today that have used the same POV techniques, such as 2007’s Disturbia, directed by D.J. Caruso, who was inspired by Rear Window. Although the setting are different, Disturbia gives the audience the view from the aspect of a teenager, Kale Brecht (Shia LaBeouf), who under house arrest starts spying on his neighbors. When one night he watches his neighbor dispose of what he thinks is body (Cooper, 2012). These two movies while similar, differ as well. Rear Window, I felt for its time was somewhat risqué for its time period. The suggestion of intimacy with many of the neighbor’s and a young woman baring her back while changing. Hitchcock did a remarkable job of capturing the emotions and mise en scéne surrounding the main character Jeff in what is small area, the courtyard atmosphere that the adjacent buildings abut too, along with views through each neighbor’s rear window.

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

Rear Window (1954) directed by Alfred Hitchcock depicts a house-ridden photographer believing that he has seen a murder occur in the apartment across the courtyard of his apartment complex. Throughout the film, there is the constant use of the motif of voyeurism. The motif is used straight from the start, often dragging the audience into looking into the lives of others just like the main character, L. B. Jefferies, is doing. Rear Window asserts that people should not keep to themselves, but instead delve into the personal affairs of others- even if the person doesn’t know its happening. Although there are characters that argue against this case, many supporting characters such as Lisa and Stella give into watching the neighbours.

If you liked the movie Disturbia starring Shia labeouf you are going to enjoy the earlier edition Rear Window (1954), directed by Alfred Hitchcock. This movies lead actor James Stewart known for his role in the movie It’s a wonderful life plays L.B. Jefferies a injured photographer stuck in his appartment. The movie leads us to believe he broke his leg while taking pictures of a car accident. Jefferies then spends the remainder of his time spying on his neighbors across the street at Greenwich Village with his girlfriend Lisa played by Grace Kelly and his therapist Stella played by Thelma Ritter.

People like to watch other people and are often quick to make judgments from what they see. This is what L.B. “Jeff” Jeffries does Alfred Hitchcock’s “Rear Window”. Jeff is a wheelchair-bound photographer who is used to an active lifestyle. Because of his boredom, Jeff spends his time looking out his window and watching his neighbors go about their life. However, Jeff does more than watch, because he at the same time he is also making judgments about who his neighbors are and what they must be like. This leads to Jeff becoming obsessed with the disappearance of the wife of his neighbor Mr. Thorwald, because he believed that he murdered her.

The considerable body of scholarship regarding King Vidor's Stella Dallas (1937) shows the film’s richness and its capability to illuminate the complex illustrations of motherhood in the culture of America. Stella Dallas narrates a working-class woman’s story who desires that her daughter Laurel might be accepted in her father's upper-class milieu, but she finds out that her own lack of pedigree risks the social future of her child. Therefore, Stella chooses to cut her relationship with her kid, so that Laurel may live as an upper class member, a choice that raises questions regarding the class hierarchies’ nature and the potentials of class mobility in American society. Scholarly study of Stella Dallas tussle with these questions, mainly when it comes to Stella's ability to make decisions and stick to her own desire. Stella exhibits that she can act in an upper-class way when she must, she seemingly chooses not to and thus distances herself from her beloved daughter, an action that appears incompatible with Stella's motherly devotion.

In Rear Window wheel chair bound Jeff attempts to relieve his boredom spies on his courtyard neighbours and he resembles a poised spectator before the silver screen and hopes eagerly for a narrative which might become an object of pleasure.

Hithcock and screen writer John Michael Hayes adapted Rear Window (1954) from a 1942 short story by crime writer Cornell Woolrich and retained the basic narrative of an immobile photographer and an assumed murder. We get to know Lisa Fremont (Grace Kelly) has been dating the professional photographer adventurer hero L.B Jeff Jeffries (James Stewart) for considerable time when the film begins. Jeff who has sustained severe leg fractures on a job is now chair bound with one full leg-cast and immobile. He uses binoculars and telephoto lens to pry on his neighbours. Lisa, an independent young woman of substantial means entertains herself by working in an expensive salon. As a model she uses her priviledged position to dress herself lavishly

From an issue that was discussed in class, we discussed about the gaze. In Laura Mulvey’s “Visual Pleasure and Narrative Cinema” she discusses about scopophilia, which is the pleasure in looking which also incorporates exhibitionism (pleasure in being looked at). This term also applies to cinema. She focuses on the idea of the “male gaze” in cinema, where films are created in favor of the male audience. Thus the action of cinema compromises of “women as image, man are bearer of the look”. Mulveys states that women in the film industry are catogarized on two levels, where woman are seen as erotic objects for the characters within the film and also erotic objects for the spectators of the film. She then moves on to criticize famed director Alfred Hitchcock’s film Rear Window for how he portrayed woman in the film. Alfred Hitchcock’s movie correlates to Mulvey’s ideas which support her theories of scopophilia and voyeurism in cinema, she believed that the film exploits the male gaze and how it antagonises woman in an anti-feminism manner. In the film, the main actor is restricted in his apartment due to his broken leg from his latest assigned project. He spends most of his time watching his neighbours from his window and later comes to suspect one of his neighbour murdering his bed ridden wife when we suddenly disappears from sight. Hitchcock successfully implies voyeurism through main actor James Stewart’s character in the film, L.B. JeffriesThe start of the film opens with a