What Is Rear Window Review

Stephanie Bittar Narrative Analysis Paper MCS 273 Rear Window (1955) Alfred Hitchcock’s 1954 film, Rear Window, explores many dimensions in cinematography. The phenomenal film is well known for proclaiming its voyeurism issues that goes on in today’s society. Even though voyeurism is an act that should not be done, this film portrays it in

Unlike most films, Baby Driver integrates sound and cinematography in a unique manner, creating a symphonic orchestra of film composition. The initial heist and getaway of the film is a prime example of how audible and visual filmmaking can have such a large influence on each other, creating a piece of cinema that is driven by a distinct beat. Although in most films no actions are arbitrary, Baby Driver takes this premise to an entirely different level, directing every action to sync with the music in the scene: whether it be diegetic or non-diegetic to the character. Within the first five minutes of the film, the audience is introduced to the characters, setting, plot, and general motivations of the story without any dialogue. The opening scene employs a brilliantly creative combination of cinematography, music, and directing to convey the characters’ location, purpose, and emotion. This scene also sets the mood and tone for the rest of the movie. Director Edgar Wright and Director of Photography Bill Pope’s manipulation of mise-en-scène—through the use of sound, shot composition, and direction—creates a masterful scene of cinema that captivates the audience, pulling them into the world of crime and the story of a reluctant getaway driver. Each shot and beat is perfectly paired with a specific purpose to communicate the story to the audience. As a result, the opening scene of Baby Driver is an archetypal example of how to communicate a story to an audience without any

The car “turned over once and landed right-side up” (O’Connor 191). The family suffers from minor injuries after the wreck. The family is not aware that they are being watched at the time of the accident. Out of an approaching car hops three men with guns. The grandmother recognizes one of the men as The Misfit, the escaped convict. Once the grandmother identifies The Misfit he has no choice but to starts killing members of the family. The grandmother ends up being the only family member left to be killed. She tries her hardest to talk The Misfit into not killing her like he did the rest of her family. Stuck in a difficult situation, the grandmother pulls religion into her conversation with the Misfit. She relies on her southern roots to soften the cynical beast in front of her. She rambles on and on telling The Misfit to pray. She tries to gain The Misfit’s trust so she can manipulate him into thinking letting her go is a good idea. He seems to reevaluate his life as he squats in front of her. Moments before her death, the grandmother tells The Misfit that he is “one of my own children” (O’Connor 196). Thinking she has fully gained The Misfit’s trust, the grandmother “reached out and touched him on the shoulder” (O’Connor 196). At this moment, The Misfit shoots her in the chest three times. The idea that The Misfit trusts the grandmother is eliminated and so is the entire

Alfred Hitchcock is considered a mastermind for all his famous works of cinema like Psycho and Rear Window. The 1960 film Psycho directed by Hitchcock based off of Robert Bloch’s 1959 novel “Psycho”. As well as, Cornell Woolrich's 1942 short story "It Had to Be Murder" later called “Rear Window”

Rear Window is compelling, clever, and utterly original. Hitchcock helps us share this obsessive curiosity, and draw our conclusions directly parallel to the characters in the film. The unique montage of imagery helps define our characters, and expose their vulnerability, their identity, and their own self-discovery

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.

Alfred Hitchcock’s Rear Window 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

Both Rear Window and Vertigo engage in some of these Hitchcockian themes, notably, obsession, and the equation of knowledge and danger, where “individuals…face danger…after learning some piece of information”(Sterritt 8). In Rear Window, Jeff becomes consumed by his obsession to understand and solve the crime he believes Mr. Thorwald has committed; this obsession drives the narrative, as Jeff slowly uncovers what has happened. His obsession also exemplifies the theme of knowledge as dangerous, as in executing his ‘investigation’ he places himself in danger, as we see towards the very end of the film, but he also places Lisa in danger when she enters the Thorwalds’ apartment to find evidence. In Vertigo we see Scottie become obsessed with the character Madeleine, through both his short love affair with her, and as well in his makeover of Judy to resemble the Madeleine whom she once acted as. He also becomes, to a certain extent, obsessed with conquering his Vertigo; he tries, with Midge to try and combat it initially, but ultimately reaches his climax with the illness with Judy acting as

Sitting alone trapped inside my home watching my neighbors. This setting is a description of the plot in the films Rear Window by Alfred Hitchcock (1954) and Disturbia by D.J Carusso(2007).These two films contain many similar themes which are a part of the movie’s plot but are slightly different. The two films both contain a vast amount of voyeurism presented in different ways. In both films women are treated rude, disrespectfully and are victims of violence. Both films also share the theme of Isolationism which contributes to the plot, tone and development of characters. The films are so alike in comparison and little in contrast that it would lead you to believe that Disturbia is a modern remake of Rear window.

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 1954 film Rear Window is a representation of the attitudes towards men and women in the 1950's. Through this film Lisa Freemont and L.B Jeffries experience a power shift in their relationship due to each individual's capabilities and ideas regarding the suspected murder case. Lisa and Jeffries relationship progresses through the film and their relationship experiences a power shift.

I feel that film Focus is great and have some abundant cases of psychology. This is very rare for movies because I do not always see that in the cinemas. The movie Focus never let you know whom really coning one another, which kept me engaged. Because Nicky and Jess had a romance built off of crimes they remind me of the famous love interest, Bonnie, and Clyde. In short, I really enjoyed this

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

It made really made me think if what the characters are doing morally wrong. Both cops handle justice a different way and no one taught Jake that the world is cruel, and twisted. This eventually causes the climactic intense ending, and will keep your eyes glued to the screen. Although I enjoy this movie there is somethings that could be better. For instance the movie has a slow start. I’m not going to lie, I did skip a bit to the ride along, for it was boring. I also would make a scene more believable, but I digress because if it was the movie wouldn't be able to continue. Overall this movie contained major keys to make it interesting.

With the exception of one scene late on, which represents both the apotheosis of the book's intellectual argument and an injection of adrenaline to carry the plot over the last ten yards, the thrill of riding the second half of Blindsight comes primarily from watching events unfold with compelling