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Analysis of Alfred Hitchcock's rear window
Analysis of Alfred Hitchcock's rear window
Film analysis alfred hitchcock
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In Alfred Hitchcock’s Rear Window the sequence being analyzed begins at 100:31 and it ends at 102:13, putting in consideration the mise-en-scene, cinematography, editing, and sound. A quick overview of the sequence: L.B Jefferies is confined to a wheelchair due to an accident, is looking out the window to his neighbor’s apartment across the courtyard. He suspects that the neighbor has committed murder. Jefferies’s girlfriend Lisa Fremont manages to get in the accused apartment in search of the wife’s wedding ring, to prove that Lars Thorwald indeed murdered his wife. Lisa is cornered in the apartment by Thorwald and tries to persuade him so that she can go on her merry way. Thorwald begins to manhandle her and she screams out for Jeff.
This scene begins with a side shot close up of L.B Jefferies (Jeff) looking away from the camera towards the window in a dimly lit apartment. Stella, the insurance company nurse is on his right side clutching onto his shoulder, only from her shoulder to her waist is seen. Her hand is clenched with anxiety close to her chest and the other on Jeff’s shoulder. Her hold tightens on Jeff’s shoulder, bunch his shirt up. Meanwhile, Jeff looks anxious as he looks towards Thorwald’s apartment.
The next shot exhibits Thorwald’s standing in a brightly lit apartment over Lisa who sits on a sofa. Lisa’s back is turned towards the window. Thorwald’s hand is stretched out demanding Lisa to return what belongs to him. The windows are open which allows Jeff and Stella to be able to hear what is going on in the apartment. Another reason, is because of the heat weave occurring at that time period.
The shots switches between Jeff’s apartment and Thorwald’s, showing the events that happens in Thorwald’s place and Jeff...
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...side Joe’s apartment and what is seen outside the window from Joe’s point-of-view.
As the action heightens in the apartment across the courtyard, the duration of the takes of shots becomes shorter and shorter. Moving to Thorwald’s and then cutting to Jeff’s reaction is an affective piece that issues suspense for the viewer. It leaves a person anticipating to see what will happen next. Even Jeff and Stella are anticipated as they too act as an audience.
In this sequence, answers to the question were revealed, whether Thorwald did kill his wife. With evidence from Lisa, finding Mrs. Thorwald’s ring, it is indeed true that Thorwald did murdered his wife. It has also been concluded that Jeff realizes his true feelings for Lisa, when she is put in danger. The stylistic elements used in this sequence helps to heighten anticipation and anxiety in what is about to unfold.
In Dahl’s short story and in Jacob’s short story, both depict suspense through tone and description. For example, in the “The Landlady”, the narrator stated, “I stuff all my little pets.” This example reveals suspense by providing the landlady killed and stuffed her pets. Furthermore,
the scene. Moving to the different shot types used in this ending scene, the recovery
During the establishment of the film Jeffries clearly possesses the power in the relationship, with Lisa submitting to his needs and demands. The power begins to shift during the middle of the file as Lisa implements her ‘sex appeal’ and demonstrates her intelligence in an attempt to seduce Jeffries. Finally, when Lisa shows her sudden burst of bravery and adventure, Jeffries’ admiration for her grows and she becomes possessive the power within their relationship. At the beginning of the film Jeffries is represented as a caged lion, with a fierce personality, he is trapped as the result of a photography accident, which has left him with one leg in a plaster cast. At the end of the film, Jeffries had two plaster casts due to a further accident perpetrated by the murderer, suggesting now that he is more seriously involved with Lisa perhaps he has become even more trapped. This shift of power is confirmed when Lisa switches the travel book she is reading while Jeffries is awake to a fashion magazine which insinuates that she has the power and has him wrapped around her
...k when Willard aims his blow with machete and then the spectator sees the ritual slaughter of a cow with machete too. The camera does not show the details of Kurtz’s murder; instead it depicts in detail the ghastly killing of the animal. The shots go back and forth because they are interwoven by the meaning, and the cow symbolizes Colonel Kurtz. The audience’s sympathy now is with Kurtz.
The screenwriter chose an effective way of illustrating the point of attack, establishing the setting and handling of exposition. The first scene of the film was a black screen which had audio of a man and a woman having a conversation. After, the film switches to a grainy video of men being detained by police. The video clip manages to bring the dramatic tension to all time high because an unidentified character is shot by the police. Therefore, this left a sense of uneasiness and tension throughout the whole film. The beginning of the film also did a wonderful job of establishing the setting. The scene of the grainy video clip had a caption box stating it was “Fruitvale BART Station 2:15AM New Year’s Day 2009”. The film then introduces the
Vertov uses montage make the viewer understand the connection between individual potential and societal potential, and furthermore, how technology is able to factor into this connection. To achieve his goal, Vertov uses one scene which begins with a close-up, eye-level of a woman cleaning her face with a towel (Vertov, 11’42”-12’11”). The use of a close-up, eye-level shot pins the viewer on the woman’s eyes. The woman abruptly peers up, and as she does so, Vertov fluidly cross cuts to a close up shot of blinds of a window looking out the city opening, successfully blending together the motion of both shots. The window of the house is a unit of the community, and by blending the motion of the woman’s eyes with the blinds of the windows house, Vertov establishes the woman as a unit of her greater society. Vertov uses another crosscut to connect the shot of the blinds to a close up shot of a camera. The camera focuses in and out on a subsequent close-up shot of flowers. Just as the woman can use
Perhaps the first thing the viewer acknowledges in the exposition of the film is the visual aspect, that being the sunlight that is shone through a window in a darkened room. We can also see tree branches and leaves dancing in the wind outside of the window. From this we figure the film is being shot from inside some sort of building. The next shot shows the shadow of what could be the same tree on the paneling of possibly a neighboring house, which supports the idea that the film is being shot form inside of a home. It is possible that Pierce intentionally used shots from outside of the home in the exposition as opposed to inside to give the viewer the idea that the house represents the lead role in the film. By introducing the piece with shots of an empty home, the viewer might expect another role to appear. Pierce then begins to elaborate on his idea of “sensory pleasure of […] a domestic setting” in the visual facet by showing a multitude of shots of inside the home and outside from the perspective of the home. We then begin to appreciate the more insignificant features of both the inside and o...
Stam, Robert & Pearson, Robertson., ‘Hitchcock’s Rear Window: Refluxivity and the Critique of Voyeurism’ in Deutelbaum, Marshall & Poague, Leland A. ed., A Hitchcock Reader (John Wiley & Sons: 2009).
Moorhouse has portrayed the character’s facial expressions efficiently throughout the film with the use of effective camera angles that engages the audience. The atmosphere of the film entirely changes from contented to gloomy due to sudden Teddy’s sudden death. A close up shot was used to capture the sadness and heartbreak on Tilly’s face as she held teddy’s hand while cleaned his body for his funeral. The use of slow instrumental music featuring violin and piano enhanced the facial expressions of the character and helped the audience to empathize with her. Moorhouse uses a medium close up shot that framed the teacher and Marigold Pettyman in a scene when Marigold discovers the truth about Tilly being the reason behind her son’s death “You think your little boy fell of the tree? Wrong…” The shot helps the audience to evidently comprehend the pain and sorrow on her face after finding the shocking truth about her son’s death. Emphasise on the theme of grief and loss was prolonged when Molly collapses on the road due to suffering from a stroke. A high angle shot is used as Molly laid on the floor in the doctor’s office to demonstrate the pain she was suffering through. The scene effectively portrays Tilly’s love for her mother as she tightly held her hand and kissed her forehead while soft piano music played in the background serenading the audience to strongly stay connected to the characters. The following scene used a close up shot to focus on Tilly’s facial expressions to determine the audience of the fear she felt of losing her mother after being apart from her for so many
Hitchcock captures the moments where the audience is able to see the visceral experiences with Madeline and Scottie through the use of camera movements. In the first scene of the film, the viewers see a chase in which a man is literally hanging from a rooftop, grasping tightly to not fall into his death. Hitchcock uses the zooming effect to enhance the fear of heights of Scottie Ferguson, as well as provide the point of view of the detective’s vertigo to appeal to the audience of Scottie’s emotive state of being. This traumatic experience of witnessing the policeman fall to his death represents that every experience will end tragically. The chase between the detec...
Sue Brower touches on this idea in her article, “Channeling Rear Window.” Brower states that “Jeff’s new disability makes him a domesticated spectator” (94). As Jeff is stuck in the wheelchair, he is watching everyone else’s lives through the window. The window symbolizes Jeff visualizing what he wants for himself. In the way Jeff views the highly sexualized Miss Torso through the window, Hitchcock represents the male character staring voyeuristically at his neighbors. He is fantasizing, in a way, the life he cannot live. George E. Toles’ “Alfred Hitchcock’s Rear Window as Critical Allegory” also touches on the idea of “voyeuristic involvement in other lives” (226). Both women characters in the film, Lisa and Miss Torso, are sexualized by Jeff. The way these two women are portrayed causes Hitchcock’s true intentions to be questionable. Does Hitchcock only see women as sex symbols, or can they have their own personalities and careers just as the male characters
...going on throughout the ghetto. This contributes to the never ending persecution and assassination that plays a major role as a theme in the film. The director uses both CONTINUITY , a system of cutting to maintain continuous and clear narrative action, and MATCHES, which is joining or separating shots together, to make the killing and shooting throughout the ghetto seem like it lasted the whole night. Once again this contributes to the overall theme of the movie that focuses on the suffering of the Jews.
The scene starts with a medium close-up of Richie, who is positioned in the center of the fame and looks directly into the camera –which also doubles as the bathroom window- while wearing his signature headband and sunglasses. The medium close-up leads the viewer to focus on Richie’s face during the actions that are to fallow, but it also allows for a sense of place to be established. The scene starts off poorly lit and with a s...
with her "Polack." Stella has chosen a life built around her powerful sexual relationship with
the scene with a long-shot of the city. He has chosen to use this in