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Portrayal of women in movies
Female gender stereotypes in media
Alfred hitchcocks themes and styles in rear window
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Stereotypical Gender Roles
Gender roles are norms that are expected from men and women. These norms were mainly established after World War II, when all the men returned from the war and resumed working and the women were usually the home care providers. Today, although this is a different era, people are fixated on these norms turning them into stereotypes. After such stereotypes arose, multiple filmmakers adapted this idea into their films. One of the biggest portrayal of gender roles was depicted by Alfred Hitchcock in his 1950 film Rear Window. Although the main plot of the movie revolves around the main character’s, L.B. “Jeff” Jefferies, attempt to solve a murder; the director successfully manages to illustrate the idea of gender roles
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Hitchcock uses point-of-view and eyeline matching to shot the majority of the movie, which was done in Jeff’s point of view. A point-of -view shot is when a shot is taken with the camera placed approximately where the character eyes would be, showing s exactly what the character would see. Eyeline matching, on the other hand is when the character is looking at a certain object, or another character and the director cuts the shot to show what it is they are looking at. Moreover, because this movie is in Jeff’s point-of-view, most of the characters are portrayed through his perception of them and are given corresponding names. Hitchcock has a unique approach for the portrayal of his characters and the majority of it can be seen through Jeff’s eyes. Ms. Torso’s first appearance through Jeff’s eyes, for starters, is presented through an eyeline matching shot combined with a point-of-view shot and a shot/reverse shot, which is when the camera alternatively cuts from one character or object to another. During the layout of this shot, Jeff is on the phone with an unknown character, presumably his boss, talking about his job, while in the next cut people see Ms. Torso practicing her ballet skills stating her profession as a dancer. “Women love to sing and dance.” As Hitchcock uses his eyeline matching shot technique, Jeff talks about his adventures on the job while Ms. Torso continues to be his form of entertainment. This symbolizes the stereotype that men are expected to do more adventure-related and outdoors type job “Men enjoy outdoor activities.” On the other hand, a profession of being a ballet dancer would fall under the category of the jobs women are expected to have. A similar type of editing is used when Ms. Lonelyhearts is introduced as well. People see the first appearance of her through Jeff’s eyes where she is shown to have an
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.
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.
Though complex and brilliantly written for its time, the plot of Alfred Hitchcock’s film, Vertigo, is only half of the genius behind it. Alfred Hitchcock’s unique presence as an auteur is truly what sets his films apart. There is symmetry to his shots that give the film an artistic feel, as if each frame were a painting. Many times, within this symmetry, Hitchcock places the characters in the center of the frame; or if not centered, then balanced by whatever else is adding density to the shot. For example, as Madeline sits and looks at the painting in the museum, there is a balance within the frame. To counter-act her position to the right of the painting, Hitchcock puts a chair and another painting on the left side, which is visually pleasing to the eye of the audience. The use of red and green not only adds a visual effect as well, but later serves as a clue that Madeline is not actually dead, when the women who looks like her is wearing a green dress.
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.
Gender roles are a common if outdated, categorization of the ‘right’ ideas of what men and women are to do and be. Often unchanged throughout the decades and appearing to just develop into more complex entities as the year’s pass. These roles encompass ideas of day-to-day life, personal interactions, and often job prospects as well. Although vilified and greatly disliked by many, to the point people go against them, these roles are often portrayed in films, both old and new. The film we have just watched, His Girl Friday, has some instances of these roles and showcases the main character, Hildy, breaking a few of these gender roles.
Sometimes in life we are quick to judge a book by its cover, but once we begin to read, we sometimes often discover that the book we once judged, was something special after all. This is exactly what was demonstrated in The Blind Side. Many people saw Michael and was so bothered by his appearance that they did not bother to figure out who he truly was. It wasn’t until they were forced to deal with him, that people saw him for who he really was. Michael was not just some bad kid from the hood, he was a child with a lost spirit that came from a broken home and a bad situation that needed someone to guide him and show him the true meaning of love. As Christians we are taught to love our neighbors, but stereotyping often gets in the way of that. Stereotyping can compel negative results on a person’s character, but in this case, it opens ones heart to mother someone who needs mothering.
One major attribute in Hitchcock films is how creatively Hitchcock tricks the audience about the fate of the characters and the sequence of events. Many people argue that it is a tactic by Hitchcock to surprise his audience in order to increase the suspense of the movie. For example, in Shadow of a Doubt, the audience assumes that young Charlie is an innocent young girl who loves her uncle dearly. However as the movie progresses, Young Charlie is not as innocent as the audience suspects. Young Charlie, once a guiltless child, ends up killing her evil uncle. In Vertigo, the same Hitchcock trickery takes place. In the beginning, the audience has the impression that the Blond women is possessed by another woman who is trying to kill her. The audience also has the notion that the detective is a happy man who will solve the murder case correctly. Just before the movie ends, the audience realizes that the detective was specifically hired by a man to kill his wife. The detective, in the end, seems to be the hopeless, sad victim.
In the movie “crash” people from different racial group crash in to each other and at least two of the characters come to recognize how their prejudice and stereotyping is based on their accidental encounter with members of other social groups.
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).
There are three key scenes that best exemplify Hitchcock’s technical competence. After Alicia’s party and run in with the police, she is shown lying in bed with a hangover. We see a close up of a concoction Devlin made Alicia for hangovers. The next shot is a Dutch angle of Devlin, arms crossed and in shadow. Alicia drinks more of the concoction and camera’s perspective is in Alicia’s point of view. The Dutch angle slanted to the right rotates clockwise to an upside down shot of Devlin because Alicia is lying upside down on the bed. Coincidently, after the elaborate camera work, Alicia sits up and says, “What’s this all about? What’s your angle?”. Hitchcock’s technical competence in this scene is a testament to his authorship.
The first shot in the film is the view from Jeff’s apartment, which he is confined to due to injury. As a photographer, he is naturally curious of what occurs outside his window. This window shows everyone who lives near Jeff and he is able to view them through their windows. As a result, he imagines
Perhaps the important answer to this question would be the ways that he composed "Rear Window" with the whole geometry of terror. Although certain elements would appear the same with his other films such as the "The Man Who Knew Too Much" and "Vertigo," "Rear Window" was unique because it was Hitchcock in the most simplistic but ultimately fascinating film. Hitchcock was able to weave out all the elements of space, look, and narrative, making this film a "precision of the mathematical thought" (Pallasmaa 1). Pallasma added that Hitchcock defined how filmmaking ought to be as simplistic as possible in the form of combining only three spaces: Jeffries' condition, the part of what he sees, and his reaction. It was the complete measuring of these angles and connecting them to form a singular film that made it more like a combination of logic and art.
This is shown by Jefferies treatment of Lisa and Stella along with their involvement with helping him, and the violence that takes place against women within the film as a way of showing that the world of surveillance is a male dominated sphere that can be
According to Baudry, the “cinematic apparatus” is the idea of how isolation from the outside world (darkened room, no outside noise, etc.) and being exposed to reproduced reality through a screen gives the viewer the notion that what they are seeing is real and they are experiencing it themselves, much like in a dream. Hitchcock’s Rear Window and Baudry’s “cinematic apparatus” theory hold hands in many different elements, but I will be discussing one of those elements, which is how Rear Window’s main character, Jeff, is a representation of this theory. In the movie, Jeff looks out his window and he can see his neighbors’ day-to-day life. Using the windows, the binoculars and the telephoto lens on his camera to spy on his neighbors, Jeff’s view is