The Three Classes In Alfred Hitchcock's Rear Window

Through the way in which Day portrays the protagonist, Claudia Valentine, she challenges the stereotypes and ideas set in the readers' minds, in relation to gender issues. Day also succeeds to ruthlessly unmask

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.

Post World War II America was a society full of anxiety. In the late 1950s Americans were deeply troubled by so many social shifts. Major changes were occurring both internally and externally. They were in the midst of the Cold War, and were vastly approaching the atomic age. There was a communist scare and fear of Russian expansion. Joseph McCarthy was hunting down major celebrities for their communist involvement and the 'Red Influence' seemed to be everywhere. The move toward suburbia and the growth of multinational corporations were flourishing. People seemed to be pulled in every direction. Another change that would have a major impact on society for years to come was 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

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.

it is the start of the story. The window fills the whole frame of the

Even though Hitchcock presents women as heroes and has taken them outside the so-called “norms,” women still tend to fall in line with gender-role stereotypes at one point or another. For instance, in Rear Window, Lisa is introduced as this beautiful, a high-society fashion consultant in New York City. She is in love with Jeffries, but Jeffries insists that they cannot marry because she cannot live his lifestyle, which involves traveling around the world and living

Hitchcock's Psycho Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre. It was more realistic the events could happen in reality.

Alfred Hitchcock's film Psycho Psycho, by Alfred Hitchcock, was shocking for its time. Made in the 1960's when film censorship was very tight to today's standards, Hitchcock pushed the limits of what could be shown and did with psycho things that had never been done before. The cinematic art, symbolism and sub-conscious images in this film were brilliant for the time and still are now. Realised for this, psycho has been copied in many ways and the things that made it great have become very clichéd.

Alfred Hitchcock is arguably the greatest director of all time. Many of his films are considered standards of American cinema and inspired many of today’s directors. Even though Hitchcock is known as timeless director, he had an understanding of philosophy that was beyond his time. Hitchcock had a brilliant perception as to how the mind works and human reaction. Hitchcock’s understanding of philosophy can be seen in his film Vertigo and illustrates how many theories can be debilitating in everyday life.

In his plays, A Streetcar Named Desire by Tennessee Williams uses different ways to show in the play of social realism. It show each of individual character and focusing on how particular way of viewpoint contrast with men, and the perspective of looking at women. The play explores struggle of two character Stanley and Blanche, between appearances and reality which made the play’s plot more affected reality. Throughout this play, it show the symbolize of the gender roles and the power of men over women in the 1940’s in New Orleans.

She flirts with many men and young adults throughout the play, which makes the reader feel a lack of sympathy for her as the men she desired ended up becoming major contributors to her eventual downfall, in particular Stanley.

James' manipulation of appearances in Daisy Miller as well as other character's notions of these appearances provides us with a novella of enigmatic and fascinating characters. Daisy, the most complicated of these ambiguities, is as mysterious as she is flirtatious. James gives her a carefully constructed enigmatic quality that leaves the reader wondering what her motivations were and who she truly was. He structures the novella in such a way as to stress the insights that the supporting characters provide into Daisy's character, weather accurate or erroneous. Despite their questionable reliability, they allow James to make commentary on both European and American cultures and social class.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

Falsely believing she is about to be ravished, she imitates the story of Clelia and attempts to swim across the Thames, causing an illness from which she is scarcely able to recover (Lennox 363). In a pattern following the tales she reads, she initially believes all women who are at least somewhat beautiful and wealthy, therefore fitting the description of a female protagonist, are the main characters in their own storyline, and the goal of all men is to deflower them. As a rule, heroines protect their virtue and men attempt to take it, which is why Arabella believes Miss Morse and the prostitute in the garden are mislead or forced into losing their virginity, and why she accuses every male of ulterior motives. The novel’s purpose in doing this is obviously not to demonstrate what acceptable behavior is, but what it is not. Further proving this are the subtitles of the chapters, which have the tone of a lesson being taught: Book I, Chapter I, “Contains…The bad Effects of a whimsical Study;” Book III, Chapter VII, “In which our Heroine is suspected of Insensibility;” Book VII, Chapter XI, “In which our Heroine, being mistaken herself, gives Occasion for a great many other Mistakes;” Book VII, Chapter XIII, “In which our Heroine’s Extravagance will be thought, perhaps, to be carried to an extravagant Length.” The author is undoubtedly aware that she is addressing an audience, and she expects them to learn the