"Rear Window" Analysis Paper

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.

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.

The majority of the film deals with the events occurring within the Thorwald apartment. In many ways the Thorwalds’ marriage parallels Lisa and Jeffries’ relationship, except with a reversal in gender. Lisa and Lars Thorwald, both mobile and healthy, strive to make their respective relationships work. Thorwald brings his wife dinner in bed decorated with a rose. She only laughs at this gesture. On the other side, Lisa cannot even gain Jeffries attention by sitting in his lap. Mrs. Thorwald and Jeffries, who are both physically restrained, only complain to their partners. The Thorwald apartment becomes of particular interest when Jeffries begins to suspect murder. He believes that Thorwald finally became so tired of his nagging wife that he butchered her with a knife and saw. After some time he even convinces Lisa of his accusation, which in turn adds another gazer to the rear window. This makes her more important to Jeffries in that he can now discuss what is going on with someone who will listen. She still does not obtain his full attention until she crosses over into the plot within the Thorwald apartment. When Lisa becomes the subject of the gaze, then, and only then, is Jeffries attracted to her.

The film Rear Window opens with L.B Jeffries ultimately holding the power in the relationship between himself and Lisa Freemont. Lisa is shown to be a woman of high

For those reasons, even when he is in a sweet moment with Lisa in his arms, he prefers looking at the outside of his apartment, and even he feels more sexual attraction towards Miss. Torso (Georgine Darcy) through the window than towards Lisa, who is in his arms or more explicit, offering herself in his sofa. Lisa – as Thorvald at the end, represents a menace and when he feels threatened, does not hesitate to take his binoculars (or even the flash), as the only way to prevent danger.

Another scene using this filming method is Therese’s outburst after they find the private detective. There is a window frame separate these two in the long shot. However, Carol leans against and comforts her. Their bodies are in the same frame implying they units together to face this difficulty. The most impressive scene utilized this technique is Therese at Bill’s party. In this long shot, the gap between two windows is larger than any scene before, which contains an important implied meaning. At first, Therese seems absent-minded standing with a bunch of men. She occasionally glimpses at a woman in other side of the room. The woman also looks at Therese and then walks to her. The scene cut to the long shot. We see the framing divided by two windows. The left window is only Therese and the woman

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.

In the opening sequence, it involves the viewer by leading them to also find the source of sound and is used as a entryway from building to building and from person to person. 3. It is very interesting that each window Jeffrey watches represents a different phase of marriage. First are the two single figures in the film, the struggling artist and Miss Lonelyhearts. Next are the two protagonists, Jeffrey and Lisa, who are in a steady relationship, but are at a disagreement on the subject of marriage.

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.

Hitchcock utilizes the distance between Jeffries’s window, through which most of the film is shot, and the actions taking place in the apartments all the way across the courtyard to hide the dialogue between the characters. Jeffries is unable to leave his apartment and since the camera does not either, the viewer is rendered just as impotent as him. Hitchcock makes it clear that Mr. Thorwald is on the phone and from the attention drawn to him the viewer is led to believe that what he is saying could lead to the discovery of what happened to his wife. The aspect of this scene that adds suspense is the dark lighting making it impossible to see what he is saying.

A film can be so grand and so magnificent that it will open up our eyes to things we have never even thought possible and taking us to places that we have never been. It can also be a single set as in the case of Alfred Hitchcock’s “Rear Window”. The film set highlights the symbiotic relationship between architecture and film and the importance of architecture as a stage. Hitchcock has demonstrated Friedrich Murnau’s statement “What you see on the set does not matter. All that matters is what you see on the screen” in his film. The entire film takes place in a single but diversified set that represents an apartment block shot entirely at Paramount studios, including an enormous set on one of the soundstages. Clever photography was used to create a series of film within a single film. The window of the protagonist as well as each window of the apartment functions as individual film screens offering both separate and linked stories of the characters.

Rear Window is a great thriller, and a great movie. It is thrilling and exciting without having the overly serious tone of most other thrillers. Unlike other films of the genre there is campy feel, yet that doesn’t deter the edge of your seat feeling the this film creates. Rear Window is an oddity, it’s a light-hearted murder mystery that takes place from one setting, yet very effectively pulls the audience into the experience. There is a constant did he or didn’t he feeling that keeps the viewer guessing up until the final dramatic conclusions.

Eckersberg also uses specific space and perspective to create a feeling of “being where” when viewers see“The Cloister.” Eckersberg uses one point perspective in this painting and foreshortening in his painting. Viewers concentrate on the direction of implied line in the building(details) The horizontal line places in the back of the cloister. The end of the parallel is the wall on the cloister. One-point liner perspective and horizontal intersects in vanishing point. On the foreground hallway, the wide of the floor is longer than the end of the floor. At the sametime, the pillars of foreground is wide and bigger and have more details than the end of the cloister. Because of the light source form the courtyard, right part of the right side

The short film script felt inspired by the isolation of the women in the picture. In the photo she appears deep in thought and lonely. I overall enjoyed the use of set pieces to tell the backstory of the short film script. For example, picture frames were utilized to introduce Sandra’s husband, to introduce Sandra’s past marriage, and to imply her husband’s passing. Additionally, elements like the cigarette sitting on the ashtray further implied the loneliness of the character, which for me helped to establish her world.

A Broken Window- when we saw that the window was broken after we didn't know who's cadillac it was. this scene advanced the plot