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Film analysis alfred hitchcock
Hitchcock psycho film analysis
Hitchcock psycho film analysis
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In the movie, Rear Window, Alfred Hitchcock uses the story of a cripple free lance photographer, Jeff Jeffries, to explain the twisted sense of society in the 1950’s. Hitchcock uses clever things from the way the apartments are being filmed to the dialogue between Jeffries, Lisa, and Stella to show societies interest in pain, tragedy, and discomfort, and in the end you see how tragedy is what makes everyone happy.
From the very beginning of Rear Window we encounter scenes where Hitchcock shows Stella being sadistic, but we come to realize later that it is not just Stella. Stella is just the only one who speaks out about it. You must observe all the other characters actions and reactions to truly see. Stella tells Jeffries that “we have become a race of peeping toms” and that “the only thing that can come out of peeping toms is trouble”. In no way do those comments make Jefferies feel like what his is doing is wrong. By his reactions to Stella’s comments you actually feel like they encourage him to continue watching his neighbors from his window. He reinforces the idea that he lives in a corrupted society when he replies to her comments that “right now, I would welcome trouble”. Jefferies is the source of the corrupted society and as the movie goes on you begin to see him corrupting the other characters, especially Stella and Lisa.
When Stella is talking to Jeffries about Lisa and she describes Lisa as a great girl, you see Jeffries have a reaction that ...
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.
In the film Rear Window directed by Alfred Hitchcock, a significant shift of power is portrayed. This shift occurs between the protagonist of the film, L.B Jeffries and his romantic partner, Lisa Freemont. This shift also aids in outlining the main theme of the film, which is marriage, as all aspects of marriage are observed and taken into account by Jeffries. The change of dominance within Lisa and Jeffries relationship can be broken down into three stages, which develop and change throughout the film. At the beginning of the film Jeffries is shown to have the power within the relationship as he dictates the parameters of the relationship, however he is also intimidated by Lisa 's social standing. Towards the middle of the film the possession
...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.
Alfred Hitchcock's Psycho Alfred Hitchcock's "Psycho"-the movie the world recognised-was first premiered in the home town of New York on the 16th June 1960.The film follows the life and strife of a young beautiful woman Marion Crane, played by the Janet Leigh, who is on the run from the police after stealing $40.000, she manages to find refuge at the Bates motel where she makes her worst mistake possible. During and after the film production of "Psycho" Alfred Hitchcock had his aids buy as many copies as possible of the novel "Psycho"-written by Robert Bloch. Why? To conceal the ending form the public's eye so when the film was shown in cinemas the audience would'nt know the ending. When people found out the title of the movie Hitchcock said it was based on a greek love story "Psyche".
The women in both films gave the men something to look at. For example, in the opening scene of Rear Window, the audience sees Jefferies looking from his window over to Miss Torso who is dancing and stretching as she gets ready for her day. As in the film Disturbia, the audience sees Kale looking through
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).
Alfred Hitchcock's Vertigo is a film which functions on multiple levels simultaneously. On a literal level it is a mystery-suspense story of a man hoodwinked into acting as an accomplice in a murder, his discovery of the hoax, and the unraveling of the threads of the murder plot. On a psychological level the film traces the twisted, circuitous routes of a psyche burdened down with guilt, desperately searching for an object on which to concentrate its repressed energy. Finally, on an allegorical or figurative level, it is a retelling of the immemorial tale of a man who has lost his love to death and in hope of redeeming her descends into the underworld.
An Analysis of the Opening Sequence from Alfred Hitchcock’s Psycho. Just like a building, a film needs a strong foundation in order to be successful, a foundation which is made up of the starting moments of the film. In Psycho, Alfred Hitchcock successfully uses the opening credit sequence to establish a foundation on which to build an interesting plot, including techniques to elicit involvement by the spectator, and the suggestion of a "Psycho" theme. A musical composition consisting of quick strokes on tightly wound violins, later used in the famous shower scene, starts to play at the beginning of the sequence. Names begin to slide on and off the screen in a series of horizontal and vertical lines.
"A Clockwork Orange", directed by the immeasurable Stanley Kubrick, starring Malcolm McDowell, Patrick Magee, Adirenne Corri, Aubrey Morris and James Marcus and produced by Stanley Kubrick in 1971, is, in my opinion, one of the greatest morality plays ever captured on film. It leads viewer in to many different pathways of thought about the time we live in, and about the validity of the concepts of law and morality, and the applications of the two in general society.
Ingrid Bergman and Gregory Peck star in this mystery/thriller that dabbles in psycho-analysis and the troubles of the mind. Constance Peterson is a renowned psycho-analyst, whose ability to analyze data is unquestionable, but who has no life outside of her work. This all changes the day the new Chief of Staff, Dr. Edwardes (Peck) arrives. It is love at first site, and Constance’s barriers break down in a flash.
Rear Window follows an everyday man who inadvertently observes a crime and attempts to bring about justice, completely subverted the crime fiction of its 1950’s context, departing from the hard-boiled and film noir sub-genre. Alfred Hitchcock has made a movie that both encourages voyeurism and shames it. Jeff is not your conventional sleuth or a loner by choice. Instead he is a photographer who has become a voyeur who addresses the boredom of being confined to a wheelchair because of a broken leg, by spying on his neighbours through his rear window. Like many hard boiled detectives he fears commitment and intimacy. Jeff harnesses his voyeuristic tendencies to attempt to piece the crime together and reveal the
Alfred Hitchcock is known for being the master of suspense, and as one of the greatest filmmakers of his era. Every directors certain style is seen in their movies or the way they shoot. With Hitchcock, it is his themes and plot devices that drive his style. Let’s compare and contrast “Rear Window” with “Vertigo”, to see the similarities and differences. In both “Rear Window” and “Vertigo”, we will see suspenseful storytelling, blurring of moral distinction, and Hitchcock making voyeurs of his audience.
Vertigo is consistent with other Hitchcock films, representing women as sexual objects and a target for the male gaze. In Rear Window, LB Jefferies, played by James Stewart, is wheelchair-bound and recuperating from a broken leg. He spends time watching his neighbors from his window. Many shots in the film are filled with point of view shots from the Jefferies perspective, similar to looking through a window. Using the point of view of the man, it creates a sense of voyeurism. Jefferies watches his attractive female neighbors, Miss Torso and Miss Lonelyhearts throughout the film. Both women end up fighting off unwanted sexual advances, which is congruent with Hitchcock's portrayal of females as objects for the sexual desire of the male. It
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 eight minute film, it’s hard not to notice the closeness Phillip and Brandon shared sexually together, making them homosexuals.
The theories of the window and frame had its origins in the schools of formalism and realism. Both schools main objective was to amplify the prestige of film. During that era of film was an upstart sideshow attraction, high class form of entertainment was the theater and the visual art forms of paintings and statues. Both schools saw cinema as a way of looking a through an aperture but keeping the audience at a distance from the subject on the screen. Whether looking through at frame or looking through a window the audience would be viewing the subject matter but they would only be able to absorb it. That’s where the similarities end the formalist lead by theorist Sergei Eisenstein saw film as frame and would create shock in an attempt to provoke or raise consciousness. Sergei Eisenstein would create what he wanted to the audience to see in his films. For example in the Battleship Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window what one sees is real.