Theme Between Rear Window And Disturbia

The most important of any story is the beginning, it's the hook to all movies, TV shows and books this is the way the author or director is setting the stage. In “Rear Window” and “Psycho” the beginning for both the books and movies are completely different. Psycho begins with Marion and her boyfriend Sam just sleeping together and she’s getting dress for work. Her and Sam have a talk about their future together; he tells her it's not very comfortable where he lives. He's in a lot of debt with the hardware store plus the alimony he’s forced to pay to his ex-wife and until he gets out of it, he chooses not to marry her. She goes to work at the real estate office and there's a high roller who comes to put a 40,000 down payment on a house for his daughter as a wedding present. She steals

Voyeurism is originally defined as ‘the practice of gaining sexual pleasure from watching others when they are naked or engaged in sexual activity’. However, the term is also used to describe a general spying on, or having interest in, other people’s lives. This kind of voyeurism is the central theme for Alfred Hitchcock’s mystery thriller, Rear Window (1954). The film follows the boredom-induced curiosity of photographer L.B. ‘Jeff’ Jefferies. Bound to his wheelchair with a broken leg, he has little to do with his time, and finds himself looking into and involving himself in, the lives of his

Hitchcock uses many techniques throughout the film “Rear Window” to convey suspense. The major theme of the film regards Jefferies voyeurism. His intrigue in the everyday lives of his neighbours is viewed as intrusive and morally wrong on principle. However, without this voyeuristic tendency the crime committed by Thornwald would never have been solved. Thus, the audience is lead through emotional turmoil in questioning whether it is wrong to invade someone’s privacy, or just and heroic to solve a crime. We see the climax of the film when Lisa and Stella venture out of Jefferies apartment to investigate the murder of Mrs Thornwald. This leads to a confrontation between Thornwald and Jefferies. These scenes build suspense through the use of detachment, the use of ‘split-screen’, ‘red-herring’ plot devices, lighting, music and diegetic sound.

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.

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

The film Rear Window, released in 1954, and directed by Alfred Hitchcock, portrays the shift of power in the relationship between the central characters of Lisa Freemont and L.B. "Jeff" Jeffries throughout the film. As the characters are introduced in the beginning of the film, Jeffries is shown to have control of the relationship between himself and Miss Freemont, the power later shifts to Lisa as the film progresses and she takes an interest in the suspected murder. However, the film ends with relative equality within the relationship, after Lisa's intelligence is discovered by her partner.

In conclusion, the film She’s the Man shows the audience how gender gets represented in films. It shows the traditional femininity as well as the traditional masculinity. This illustrates that gender has impacts on power and gender relations to contribute gender inequality. Gender norms are enforced in films which maintain the power inequality difference between both genders. These issues confine the way modern films represent gender and gives a direct effect to the

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

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

Compare and contrast the presentation of gender in two films we have looked at on the course

Several film theorists have used a variety of tactics and view points to analyze feature films since their inception. One of the most prominent theorists of those that analyze films from a feminist perspective is Laura Mulvey. Mulvey is famous for her essay “Visual Pleasure and Narrative Cinema,” which presents an array of theories involving the treatment of women in films. Arguably the most notable idea presented in Mulvey’s work is the existence of the “male gaze” in films. This essay will examine Mulvey’s theory of the male gaze in relation to Alfred Hitchcock’s film, Vertigo. Vertigo does not fit the criteria of a film that

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 second movie in which a woman plays a major role in is Baby Boy. This movie, I believe did not do too much damage to the box offices when it first came out, but it sure portrayed women in a very negative way. The main character is actually a man by the name of Tyrese Gibson. He plays a boy who is struggling to grow up and become not only an independent adult, but also a responsible father (to more than one child). The main female role in the movie is Tyrese’s baby’s mother. She is in love with him and would do anything to keep him happy. She let's him use her car and she let's him stay at her place at any time with her and their son. He cheats on her a lot and at one point even hits her. This was a major part in the movie. He had promised her he would never lay his hands on her and he did. She stopped talking to him for quite some time, and that whole time you could sense they were both miserable without eachother. Some men tend to hurt women for the simple facts that they just don’t know how to control their anger or because they were never taught good communication skills. They end up telling one another that they can’t live without each other and they get back together. She ends up getting pregnant by him again and they get married and live happily ever after. Moral of the story: Teens trying to balance their love life and

So what are the differences between both of the video besides of the similarities on the gender issues? Video art is a non story telling. It is usually more abstract. The image and the signal showed are usually odd making the viewer’s confuse and unsure about the massage that the artist trying to show. For example, in the Semiothic of the kitchen. The moment that the video start, Martha rosler is already in her action. She started by introducing various types of kitchen tools through the alphabet from A to Z and demonstrates the used of each tools without explaining why she does that. Only after you read the synopsis of the video then you can get a clear understanding of the purpose. Unlike video art, film art has story lines. In the safe film, the director shows how the the character developed from being a normal housewife to a sick person. Usually viewers can easily understand even there is no narrator in the movie. Another obvious differences is the duration of the video. Usually video art tends to be shorter that a film. The duration for example are six minute and 9 second for the video art but for the safe film, the duration is one hour and forty nine minutes. It is possible for video art to be longer than usual but it is not possible for a movie to be shorter than forty five minutes. This is because the minimum duration for a movie are usually 45minutes. The