Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Depiction of women in movies
Sexism in films essay
How does hitchcock go against traditional roles in women in vertigo
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Depiction of women in movies
In other words, the higher class creates the beliefs on how the rest of the lower classes should be seen or what ideals they should follow. The lower classes do this to themselves to reinsure their nature of national identity. Cinema is used as an ideological apparatus. Hollywood puts their ideals on the screen and renders them invisible. Such ideologies that are on the screen are heterosexual and it is embedded in almost every genre. Other ideals consist of social class of an individual, the gender of the individual and the age. There are two states of apparatus that are spread ideologically on screen. The first is repressive, discriminates other people to in oppressive state, such as laws that discriminate against certain groups. Second is, Ideological state apparatus, covertly spreads ideologies such as family, church and school. Hitchcock uses the reality effect in Rear Window to draw the audience more into the cinematic experience. He does so by making the protagonist look through the lens of his camera to view his neighbors and look inside their apartment and how they live their daily lives. By doing so, we see the world through Jefferies eyes and he himself becomes part of the audience. While viewing every apartment window we see how people live in their natural state and give the film a sense of realism. Each window shows what life was like, living in America in 1950. Each character represents different social classes. As Jefferies lens focuses on apartment complexes across the alley, it displays a capitalistic view of the tenants. On the top floor lives a hard working pianist in what appears to be apartment house suite with the great view and accompanied by other people that look well kept and pampered. His social standin... ... middle of paper ... ...to her. Films by today’s standards have the female character equal to the male character. The patriarchal ideology would be non-existent. In the end, Rear Window shows ideologies that today’s society would be opposed to. The Ideology of voyeurism though might be for a good cause, can be punishable by law or by society. Interfering in somebody’s life comes with a price. Jefferies peeped into the neighborhood out of curiosity and ended up obsessed over a particular neighbor that almost costing him and Lisa’s life. With society changing, neighborhoods have become a mesh of different cultures and are dominantly minorities. People would think of a pure white society as a discriminatory one. The patriarchal ideology is not visible in the film and changing it to a more feminist movie. The film had Jefferies be the secondary character to Lisa as she drives the plot further.
This left Hitchcock films as some of her mother’s favorites. Pemberton, went to a Hitchcock festival as an adult, this time watching Rear Window, which she had not seen since she was a child with an objective examination, she found a scene that would shift both her and her mother’s perspective of this movie. As Jimmy Stewart’s character, Jefferies, realizes he is in danger, telephones his friend Wendell Corey, who was not at home, but he spoke with the baby-sitter who did not appear on screen, but was portrayed in a voice that would convey imagery of a “familiar black image.” Asking the inspiration for this essay “Do he have your number, Mr.
...ts was very distinguishable. This film captures this class distinction without subduing the atmosphere through the use of a variety of cinematic devices, “ A good film is not a bag of cinematic devices but the embodiment, through devices, of a vision, an underlying theme” (Barnett, 274). The audience can see this theme of the realities of the oppression, poverty and despair of this time period through the use of the things mentioned, but also through the character development that is driven by the character’s hopelessness. Each of the characters associated with the lower class is motivated by the conditions, which are viewed through the cinematic devices mentioned above: color, spherical lenses, long shots, and high angle shots.
In conclusion in “Rear Window” Hitchcock is shown off as an auteur and realist though his modification and implementation of his own creative mind and as a realist by conveying reality and occurrences of everyday life respectively. He also used methods such as eye line matching, cinema as window and frame, and potentially character specific lighting to connect the audience with the characters and to give the main characters more individualized
...m plays a considerable role in this film. Jeffries, the films protagonist is bound to his apartment, so for entertainment he watches people through his window without them knowing. From the very beginning these characters seem to so interesting, so no wonder Jeffries decides to watch them. While watching the film, we become witnesses of their private lives, making us voyeurists too. In this film windows are not used in a traditional sense, they expose people, they symbolize confinement, and they allude to suspenseful plot devices. Hitchcock’s aesthetic configuration of the film manipulates the audience into questioning several aspects of the film and in life in general. Hitchcock’s originality in Rear Window was not only successful during the golden age of Hollywood, but it continues to be creatively adapted and consistently influential in today’s cinema as well.
Discriminating gender roles throughout the movie leaves one to believe if they are supposed to act a certain way. This film gives women and men roles that don’t exist anymore, during the 60s women were known to care for the family and take care of the house, basically working at home. However, a male was supposed to fight for his family, doing all the hard work so his wife didn’t have too. In today’s world, everyone does what makes them happy. You can’t tell a woman to stay at home, that makes them feel useless. Furthermore, males still play the roles of hard workers, they are powerful compared to a woman. However, in today’s world a male knows it isn’t right to boss a woman around, where in the 60s, it happened, today women have rights to do what they want not what they are
Rear Window and the works of Hopper are both required with confinement. Disregarding its blended utilize land setting, Early Sunday Morning does not pass on a warm, fluffy feeling of group. In like manner, in Rear Window, the inhabitants of the lofts are confined from each other. Apartment Houses is additionally for the most part viewed as another antecedent to Rear Window. Large portions of Hopper's night settings portray scenes from New York City and Night Windows is no special case. The lady in this work of art is totally unconscious of the stage she is on and the front line situate its eyewitness involves. Its semi-sexual story is resounded in Rear Window, and it catches strikingly the experience of living in New York: the a large number
Moreover, the film Mildred Pierce follows the struggles of a hard-working mother, Mildred Pierce, as she divorces her husband and supports herself and her spoiled daughter, Veda, by starting a successful restaurant business chain. In different ways, the film challenges the notions of masculinity and femininity as gender roles are reversed with different characters but identify this, you have to look at the films ideology. Ideology is a system of ideas that structure and make sense of society. If you look at 1940s America, post World War 2, the society at the time adhered to a very hegemonic patriarchy in which men were the ones with power, the ones providing for the family; where as the women of the time were seen subordinate and were more
This paper has attempted to investigate the ways in which Alfred Hitchcock blended conventions of film noir with those of a small town domestic comedy. It first looked at the opening scenes of the film in which the two conventions were introdruced. It then went on to analyse the film with the aid of Robin Wood's article Ideology, Genre, Auteur. From these two forms we can see that film noir and small town comedy were used as a means of commenting on the contradictions in American values.
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).
The capitalist ideas so prominent in the Reagan / Thatcher era are as clearly instilled in the youth of the 1980s films as their, usually middle class, screen parents. Only “Pretty In Pink” (and indirectly, “The Breakfast Club”) actually confronts class differences; in the other films, the middle class way of life is accepted as default. Almost every John Hughes film is set in affluent suburbia with the repetition of certain imagery (the big house, gardens and tree-lined quiet streets, and often a wood-paneled station wagon) with a certain population (rich, white families), which is reflected in the body of the attended, well-equipped schools.
The artistic intensions of the film were clearly stated in the beginning when the credits appeared on the screen along with the recognition that this film received. Nothing in the background moved. The size and arrangement of the letters on the screen screamed to the audience that the main artistic intension of this film was for the audience to clearly recognize that this film itself was a piece of art in its finest form. The film very quickly and artistically set the mood and the location as well as the topical time period through the jazzy music in the background, the accents and grammar of the characters, the style of clothing and hair, the presence of a soldier, and through the scenery. Later in the film, some indicators of the time period were shown through the old radio Stanley threw out the window and the young man coming to collect for the newspaper. An indicator of the location was made more clear by the presence of African American people walking in Stella and Stanley's neighborhood. Back when this movie was made the black people and white people, especially of upper class society, were still segregated for the most part. The upstairs neighbors fighting with each other and yelling loudly and the appearance of Stanley's poker friends...
All of these examples prove that this film uses strong cinematic techniques that further immerse the audience into the film. The visual experience is one that is significant to film itself; therefore it is the most important element to this medium. Without a strong idea of cinematic technique, the film would not be succesful. This film successfully suspends reality, and for about two and a half hours, the audience feels as if they are in Jackson, Mississippi in the early 1960s during the civil rights movement.
There have been many contributors when it came to tackling anti-social behaviour and preventing crime however, the most influential contributors are Wilson and Kelling. They came up with the theory of broken window which will be further explain in this essay. This essay will outline the broken window theory, as well as explain what is meant by broken window. Finally it will give examples that exemplify the broken window theory. (Maguire, Morgan and Reiner, 2012)
The marxist lens reflects the gap between the rich and the poor during the 1920’s through the glass ceiling effect and female economic status. The glass ceiling is an unseen and unbreakable barrier that keeps one from rising to the upper class regardless of their qualifications or achievements. The different settings in the novel represent this effect: East Egg, the Valley of Ashes, and
The opening of the film shows you glimpses of poverty-stricken neighborhoods with run down buildings, busted windows, and graffiti. Neighborhoods where homelessness