James Stewart "In a career of extraordinary range and depth, Jimmy Stewart has come to embody on screen the very image of the typical American.... His idealism, his determination, his vulnerability, and above all, his basic decency shine through every role he plays..."-- The American Film Institute. The Nature of Film and Acting When film was young, acting was overdone. Low quality cameras could only record large movements; posing and enunciation were overstated as a result of theater acting;
James "Bubba" Stewart was born December 21, 1985. Bubba Stewart was still in diapers when he first went for a motorcycle ride. His dad, James Stewart Sr., took Bubba for a dirt bike ride when he was just two days old. Bubba Stewart entered his first race when he was four and was already a sponsored rider at the age of seven. When Bubba Stewart was eight, he was a big fan of another racer named Jeff "Chicken" Matiasevich. James Bubba Stewart began calling himself "Baby Chicken," which somehow turned
The Classical Hollywood Cinema was a period of time that roughly lasted from 1917-1960 where the production of film followed both visual and narrative style. These films follow the same structure with a beginning of the film with an opening shot, and then an event occurs that causes a problem which sets the characters in motion to work towards a goal which by the end has been resolved which the common route for a classical film is. This essay will analyse the components that construct the film Rear
neighbours through his 'Rear Window'. He hasn't seen the light of day since seven weeks ago. Rear Window is one of Alfred Hitchcock's most memorable films. L.B. Jeffries becomes engrossed in voyeurism, which carries on throughout the film. James Stewart, in one of his most unforgettable roles, represents a photographer with a broken leg, who amuses himself by casually spying on the neighbours. All of the windows he peers into presents a glimpse of relationships, in which the men and women are
to what might or might not have become of certain characters. Vertigo boasted several different themes. However, the “Ideal Woman – Lost” theme was the most prevalent (“Handout #1”). This theme was brought on by an obsessed “everyman” type. Jimmy Stewart, otherwise known as Scottie in the film, played this “everyman” type whose personality was maliciously twisted into an overly obsessive man. His cause for obsession was a beautiful, young woman played by Kim Novak, known as both Madeleine and Judy
hitchcockVertigo stars James Stewart as Scottie, a retired detective, and Kim Novak as Judy Barton, who gets disguised as Madeleine, a woman hired by Scottie's friend to act as his wife in order to frame Scottie. The story takes place in San Francisco in the 1950's. The film opens on a high building, where officer Scottie and his partner are in pursuit of a suspect. Scottie's partner's life is on the line and only he can save him. Unfortunately, he has vertigo, a fear of heights. Scottie is unable
Writer and film critic Roger Ebert once said that the Hitchcock Blonde, “…reflected the same qualities over and over again: They were blonde. They were icy and remote. They were imprisoned in costumes that subtly combined fashion with fetishism. They mesmerized the men, who often had physical or psychological handicaps…” Much of this is true of Grace Kelly’s character Lisa Fremont in Rear Window: although she is neither icy nor remote, she is very fashionable and must rise to the occasion of the
John Ford directed many well-known western films that brought back the vibrancy of that era. One of which is, The Man Who Shot Liberty Valance. Back in 1962, when the film was made, many dismissed it as a petty, disappointing work. Much of the criticism leveled against The Man Who Shot Liberty Valance focused on its look. The majority of films were done in color that gave it a bright, upbeat tone that the public loved. The “look” present in Liberty Valance was black and white, which went against
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
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his
“Jeff” Jefferies (James Stewart), who has become wheelchair bound after breaking his leg in an accident. The rear window of his Greenwich Village apartment looks out into a community courtyard with other apartment buildings surrounding the space. Out of sheer boredom, Jeff begins
To this day Rope, Alfred Hitchcock’s first color film, remains one of the most original motion picture dramas. With the exception of the opening credits, Rope was shot on one individual set located within a soundstage, similar to as if a play was being performed on stage. Despite the confined space the film occupied, the atmospheric anxiety carried on up until the very end. Furthermore, Hitchcock successfully created a deception, of the same repetitive shot. Nonetheless, during the one hundred and
On the first day of school, finding a spot to sit is often the biggest obstacle one can encounter. You cannot sit with just anyone. It has to be with someone we know, and if not, we ask for their permission because we are technically intruding on their meal. It might seem silly, but it is true. Food is a part of life; essential, and we cannot share a meal with just anyone. Alfred Hitchcock illustrates the intimacy that a meal brings to the plot within his films Rope and The Man Who Knew Too Much
Alfred Hitchcock As a cinematographer, I see Alfred Hitchcock as one of the most influential people in the history of the silver screen. My synopsis of his films, however, will be through the eyes of a young man that has witnessed tragedy. I could sit and rant and rave about how Hitchcock was a great director, his films were awesome, etc., but I’ll spare you of that. I would much rather discuss the attack, but since I must write this paper about his cinema work, I’ll try and compare the two movies
Destiny Monroig September 24, 2015 College Writing 110 Rough Draft TITLE(?) With voyeurism comes consequences. Just ask L.B. Jefferies, he’d know all about it. Alfred Hitchcock’s 1954 movie Rear Window depicts the struggles of photographer L.B. Jefferies as he’s forced to stay home in a wheelchair due to a leg injury. To deal with his frustration at being stuck home he takes to spying on his neighbors. With the use
Cornell Woolrich in “Rear Window (originally titled ‘It Had to Be Murder’)” is a short story, full with suspense and murder. The short story and the film version take us into the life of a man who is force to live in a wheelchair due to his injured leg. According to Lawrence Howe author of the article “Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock’s ‘Rear Window”’ he emphasizes that “Rear window has been recognize for its thematic of watching, connecting the
Alfred Hitchcock's Control Of What We See in Rear Window Alfred Hitchcock controls what we see in the film by firstly controlling what the camera shows, he adds small details to the film to provide reasons for various events happening, he also uses each of the characters to convey a message to the public, includes some short but effective shots of some of the characters to stir certain feelings within the audience, uses light humour and sometimes uses only visual aids to show people what
Film Analysis of All That Heaven Allows Chosen sequence: Golden Rain Tree/Cary's bedroom scene. Before the emergence of 'auteur theory' the director Douglas Sirk was a renowned exponent of classical Hollywood narrative, particularly in the genre of romantic melodrama, of which his film All That Heaven Allows is a classic example. However, he is now regarded as a master of mise-en-scene, one of the few tools left to a director working within the constraints of the Hollywood studio/institutional
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character
‘The Man Who Shot Liberty Valance’ is both optimistic and pessimistic. It is unsatisfactory to call the film plain optimistic, which it was in the middle of the movie, as the beginning but more so the end was pessimistic. The middle of the film was optimistic because it showed the joyous personalities of the people and about ten minutes from the end of Ransom Stoddard’s flashback, film reached it’s climax when Liberty Valance was killed. On the pessimistic side of the film however, is what has become