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Sound in cinematography
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Rear Window, directed by Alfred Hitchcock, displays just how impactful the characteristics chosen within the film are. Each choice that is picked ultimately determines whether or not the film will be a success or not. When choosing which settings, sounds, and lighting that a film will use, one must take into consideration the emotions that are trying to be conveyed on the screen. In Rear Window, Hitchcock displays the emotions in the film through the use of setting, sound and lighting. These features allow the audience to see the film’s overall big picture.
The whole movie is spent in Jeff's small apartment somewhere placed in Greenwich Village, New York City. This makes the film appear to be as if you, the viewer, like Jeff, are
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stuck in the apartment with him. I believe it was to be viewed this way intentionally, and it was actually quite clever. If Jeff can’t leave the apartment, neither will the camera. This allows for the audience to really connect with Jeff on a personal level because we too are viewing the world through his eyes. This lets us to also see inside of the lives of individuals hidden behind their windows, such as the dancing woman or the man with the purse. Also, by using this setting choice we are able to be more sympathetic to the main character, as for we too can not escape the room, which thus permits us to feel the loneliness in which Jeff displays. Overall, the film has a great use of sound as well as music, Alfred Hitchcock, does an amazing job with the use of sound throughout the movie to set the tone for the film and to try to make us feel what the characters are feeling throughout the film.
I felt the use of the train horns in the distance, and the cars honking in the streets as the drive by, as well as the kids playing in the streets makes me think of the time period in which this movie was shot. Especially, with the neighbors having parties nextdoor or families talking to each other through open windows, with this use of sound it almost makes the viewer seem like they are in a little village in the heart of New York …show more content…
City. Throughout the film, as jeff is trying to figure out that thorwall killed his wife, there’s always that sense of an ominous tone throughout the film to give the viewers a sense of danger for the movie to make the action feel more dangerous and realistic. Towards the end if the film we can hear the struggle between the antagonist and protagonist in the dark to keep us imagining how the scene plays out and makes us want to sit on the edge of our seats. And at the end we see a change in the sound we are back to kids playing in the street with sunny skies and jeff with two broken legs and a smile on his face, knowing that thorwall has been caught, and that the movie is coming to a close and that all is good. With the uses of sounds throughout the film, it keeps us anticipated and throws us into the film and makes us admire Hitchcock’s work even more. The lighting in Rear Window as a spectator looked amazing.
In the film I noticed low-key lighting as well as high-key lighting. I noticed a lot of low-key lighting that showed a lot of shadows. I think this is important in a film to get even the little things like a shadow in the scene. This also created the film to be more realistic and got me, the audience, starting to look at little details also going on in the scene. This makes it easier to notice the main character in less lighted scenes. This draws my attention to them and not the background, which is less lighted and harder to see. I noticed the high-key lighting parts of the scene more during the day or close ups on the characters. This allowed for clear visual of the characters and really focus on what they were saying. I wouldn’t say that shadows or lack of lighting added a feeling of danger but more of a feeling that something was about to happen. Overall I was very impressed with the lighting of this movie, especially for how old it
is. In conclusion Rear Window was a very well set up and directed movie. They did a very good job with the setting of the movie of having it as a one stage scene. Even though it was only a one stage scene they did a very good job of not making the scenes seem crowded but making them have an open feeling to it. The sound of the film is very realistic, they really make the audio clear with arguments and fights. This allows the audience to feel really intune with the film. In the lighting part of the film they did a very good job with the high-key and low-key lighting. They knew when to show shadows and make the scene darker to make to film more intense. Overall Rear Window was a very good film and well set up.
It hints of danger when Peg sees a man standing in a dark corner of the room looking like it was a bad guy, so Peg got scared when she first saw him standing there. It also made the audience have a scary feeling. Tim also uses low-key lighting in the movie Bettlejuice, there was a moment when Adam and Barbra made this secret door inside their attic and it had a low-key lighting effect, so it made it look like it was dangerous because it was a mysterious door. Now I have listed some examples when Tim Burton uses low-key lighting in his
The film, 'Rear Window' has an essence of 'urban isolation/ loneliness' in it. The entire film is made on one confined set. In the whole movie, the viewers can either see the apartment of the immobile protagonist, Jeff or the window views of his neighbors. With the idea of confined set, Hitchcock (director) showed the loneliness and urban isolation of Jeff. Due to his leg injury, Jeff can not go anywhere so he passes his time by peeping into his neighbors' life through his rear window and can see different stories going on in different apartments. Each apartment window is like a TV series for him, which he watches on a daily basis. This film shows the visual study of obsessive human curiosity.
Thus placing the film fully emersed in the old, mysterious, dreamlike settings of the city, they are equally balanced with modern technology and the collective past gives viewers a sense of definite decay, with no sure centre for future (Spotto 277). Through Hitchcock’s films Americans could reminiscence and ruminate about their past-a kind of nostalgia and longingness is created. When Scottie meets Gavin Elster (Tom Helmore) in the shipbuilders’ office at the Embarcadero, what he says is striking: “The things that spell San Francisco to me are disappearing fast,” Elster complains quietly and referring to the old maps and woodcuts in his office he continues, “I should have liked to have lived here then-colour, excitement, power, freedom” (qtd in Spoto 280-281/qtd from the film). Here his speech echoes urbanisation that has gripped America and he also expresses a typical American sentiment of longingness for the past well expressed. And the sadness of the old things “disappearing past” is deliberately introduced to effect in Scottie and in us who are urged to identify with him, a nostalgia for bygone era (Spoto 281). Hitchcock has taken the film keeping in mind the viewers of postwar America who were nostalgic. Artist should be able to read the mind of the people. Taine has already pointed out the importance of ‘the man, milieu and
Rear Window directed by Alfred Hitchcock was an exceptional movie with a jaw- dropping 8.6 rating on IMDb’s website. The movie is about L. B. Jefferies (protagonist), who is a well-known photographer in a wheelchair.The lack of entertainment and extreme boredom caused Jeff (Jefferies) to stare out the rear window day and night. He eyed his neighbors through this window 24/7 and revolved his wheelchair season around their personal lives. As the movie goes on Jeff feels as if Lars Thorwald (antagonist) has murdered his sick wife. He knew they were an unhappy married couple already and had some unmistakable clues. In this series of events Jeff’s girlfriend who he thought to be too perfect for him and epicene turns out be a risk-taker and brave.
The lighting in this movie is very effective. It helps to establish the characters very well. The audience is helping in distinguishing the bad and the good characters through the lighting. The movie overall is very stylized. There are some other strange lighting patterns brought out by Hype Williams, but by far the most effective lighting patterns are ones that help to characterize the main players in the film.
The lighting played a major role in setting the tone for both the theatre performance and the movie. In both the film and play, the lighting was dimmed and the non-important elements, such as background elements, were often hidden in the shadows. In the film the murky lighting also hid Todd in the shadows, in order to increase the suspense and further emphasize his intimidating demeanor. In the play,
Situated in the rising action of the film, Rear Window (Hitchcock, 1954), this scene depicts Jeff sending a note to his neighbor, Mr. Thornwald, with the help of Lisa and Stella letting him know that they know about his crime. Hitchcock's use of mise-en-scene elements such as, lighting, setting, props, spacing and expressions between characters all allow Hitchcock to prove Jeff’s’ inability in the situation and develop important themes such as opposite perspectives and peoples’ engrossment with lives other than their own.
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, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
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 voyeurism of L.B. ‘Jeff’ Jeffries with spectator’s curiosity about the lives of those one watches on the screen” (Howe 16). The theme of voyeurism is present throughout the film. According to George E. Toles author of the article “Alfred Hitchcock’s
Suspense is only one of Hitchcock’s many techniques and themes. His themes range from the obvious violence, to the depths of human interaction and sex. From Rear Window to Psycho, Hitchcock’s unique themes are present and evident. Rear Window starts with something we all do at times, which is nosing in and stalking on others business, and turns it into a mysterious investigation leaving the viewer second guessing their neighbors at home. Psycho on the other hand, drags
Alfred Hitchcock’s unique sense of filmmaking and directing has allowed him to become a very famous and well known film maker of his time. He uses similar recurring themes, elements, and techniques in many of his films to engage the viewers in more than just the film, but the meaning and focus behind the story.
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
At the beginning, the movie appears to be very dark and gloomy. This is shown from the riot at the bakery and the young revolutionist running away from authorities. There was so much trouble that the family went through to eat, and survive. The tension increases so smoothly yet it drives the nerves of the watcher during the family argument scene (which proves to be very effective).
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 film begins with a title card sequence upon a static backdrop of shrubbery, mountains and distant clouds; a lingering sight that doesn’t truthfully establish forthcoming events in Vienna’s saloon. Her saloon may be quiet, but it is always occupied, and whilst the opening sequence, in which we are introduced to Johnny Guitar, is filled with a bravado of horns and orchestral accompaniment, the saloon itself is inversely populated by the sound of wind, tumbleweed, and stark silences - something perhaps more associated with the western expanse in which the story takes place. Yet for this dichotomy in sound, the initial visuals after the credit sequence foreshadow the destruction of locale, and the audience takes the place ...