Essay Rear Window, by Alfred Hitchcock

The majority of the film deals with the events occurring within the Thorwald apartment. In many ways the Thorwalds’ marriage parallels Lisa and Jeffries’ relationship, except with a reversal in gender. Lisa and Lars Thorwald, both mobile and healthy, strive to make their respective relationships work. Thorwald brings his wife dinner in bed decorated with a rose. She only laughs at this gesture. On the other side, Lisa cannot even gain Jeffries attention by sitting in his lap. Mrs. Thorwald and Jeffries, who are both physically restrained, only complain to their partners. The Thorwald apartment becomes of particular interest when Jeffries begins to suspect murder. He believes that Thorwald finally became so tired of his nagging wife that he butchered her with a knife and saw. After some time he even convinces Lisa of his accusation, which in turn adds another gazer to the rear window. This makes her more important to Jeffries in that he can now discuss what is going on with someone who will listen. She still does not obtain his full attention until she crosses over into the plot within the Thorwald apartment. When Lisa becomes the subject of the gaze, then, and only then, is Jeffries attracted to her.

Alfred Hitchcock once defined his film Rear Window (Hitchcock, 1954), as the story of a man who cannot move and looks through a window, about what he sees and how he reacts to it (Truffaut, 1986). In addition, Hitchcock constructs the character of the protagonist of the film, Jeff (James Steward), not only by using cinematographic devices to show how Jeff interprets what he sees and his own life, but also stabilising a dichotomy between what he looks at and what he lives.

In Alfred Hitchcock's 1954 classic thriller Rear Window, Jimmy Stewart stars as L.B. Jeffries, a world traveling magazine photographer accustomed to living a fast pace active lifestyle. When Jefferies injures himself taking a risky picture he is immobilized, confined to a wheelchair inside his apartment for two months. Bored with his uneventful life he becomes completely obsessed with the lives of his neighbors spending the majority of his waking hours watching them from his window. To obtain a better view he begins using a telescopic lens from one of his cameras. By watching his neighbors through the camera he assumes the role of both a spectator and a voyeur. This contributes to

In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as:

Hitchcock's Psycho Psycho first hit our screens in 1960 directed by Alfred Hitchcock. It faced major controversy, as it was different. Horror films before this were more unrealistic and gruesome. Psycho was a groundbreaking film of the horror genre. It was more realistic the events could happen in reality.

Rear Window follows a newspaper photographer, L.B. ‘Jeff’ Jefferies (James Stewart), who has a broken leg and passes the time by watching his neighbors. Jeff observes many neighbors including a jewelry salesman, Lars Thorwald (Raymond Burr) who has a bedridden wife. Jeff’s girlfriend, Lisa Fremont (Grace Kelly), and his nurse, Stella (Thelma Ritter), visit him often. One night, Jeff hears a woman screaming and notices Thorwald leaving his apartment. The next morning, Thorwald cleans a

One of the most famous horror films not just of the 1960's but of all

The greatest art in films is by the means of the ability to create an emotion in the viewers of the film and by the means of and imagery. Alfred Hitchcock, for long time, has been a household name since he began filmmaking. Hitchcock has been able to accumulate a well known and distinct cinematic techniques making him stand out as one of the best filmmakers around the globe. What makes Hitchcock’s films ‘must watch’ movies are how he draws his viewers’ emotion and leave them in suspense (Maher 246). Hitchcock’s The Birds is an American horror-film dropped in 1963. The film is loosely based on the 1952 story of Daphne Du Maurier and focuses on a sudden series, unexplained powerful and violent birds attacking the people of Bodega Bay (Maher 247). In this movie, the fact that viewers do not get to know the details of the birds makes it an interesting but a suspense film, which evokes thoughts of the audience to know much about the birds. On the other hand, Identity, which was directed by James Mangold in 2003, revolves around the life of ten people who seeks refuge in an isolated motel when a vicious storm breaks out in the desert of Nevada (Falsafi, Khorashad, and Khorashad 2521). As they seek refuge, a serious murderer, Taylor Vince awaits his execution for killing a group of motel guests. This paper, using terminology resources and cinematic techniques, seeks to expatriate the similar technique styles adopted in the two films to enhance suspense. The cinematic techniques

Alfred Hitchcock is arguably the greatest director of all time. Many of his films are considered standards of American cinema and inspired many of today’s directors. Even though Hitchcock is known as timeless director, he had an understanding of philosophy that was beyond his time. Hitchcock had a brilliant perception as to how the mind works and human reaction. Hitchcock’s understanding of philosophy can be seen in his film Vertigo and illustrates how many theories can be debilitating in everyday life.

going back to the other views to see where the policeman is and how is

Alfred Hitchcock's film Psycho Psycho, by Alfred Hitchcock, was shocking for its time. Made in the 1960's when film censorship was very tight to today's standards, Hitchcock pushed the limits of what could be shown and did with psycho things that had never been done before. The cinematic art, symbolism and sub-conscious images in this film were brilliant for the time and still are now. Realised for this, psycho has been copied in many ways and the things that made it great have become very clichéd.

Stella does not think for herself and as a result she fears life without her abusive husband. She depends totally on him for economic survival and for her sense of self. As a result she acquiesces to his every whim and fancy and accepts and blames herself for his physical and verbal abuse. She betrays her own thoughts and chooses her husband and places her sister in an asylum. By refusing to believe that Stanley raped her sister, she reconciles her decision to continue living with him. Williams’ depiction of Stella alludes to the idea that her future is linked to her submissive nature and the tenets of fatalism. She hardly speaks and when she does her speech is barely audible. Stella is presented as a flat character with no imagination or complexities.

Entrails torn from the body with bare hands, eyes gouged out with razor blades, battery cables, rats borrowing inside the human body, power drills to the face, cannibalism, credit cards, business cards, Dorsia, Testoni, Armani, Wall Street; all of these things are Patrick Bateman’s world. The only difference between Bateman and anybody else is what is repulsive to Bateman and what is repulsive to the rest of the world. Bateman has great interest in the upper class life, fashions, and social existence, but at the same time he is, at times, sickened by the constant struggle to be one up on everybody else. On the other hand Bateman’s nightlife reveals a side of him never seen during the day. Bateman is relaxed, impulsive, and confident

Reality is ultimately dependent upon what is seen and how it gets seen. Rear Window, directed by the renowned Alfred Hitchcock, centers around a temporarily wheelchair-bound photographer and his beautiful, affluent girlfriend, who believe that one of his neighbors has murdered their wife. With the help of his caretaker and a friend of his, who is a detective, they attempt to prove that the murder did indeed take place. L.B “Jeff” Jefferies, played by James Stewart, is the hindered photographer, who is confined to his apartment. To kill time, Jeff develops the “diseased” habit of watching his neighbors through his professional grade camera and lens. His girlfriend, Lisa Carol Fremont, played by Grace Kelly, is heavily involved in the fashion industry and is well known for her elegance. However, she deeply in love with Jeff and desperately wants to be a part of his life, even if that means she has to embark on the unpleasant, and often life-threatening, adventures that he goes on for his work. The neighbor, Lars Thorwald, played by Raymond Burr, is a strained salesman, whose wife is a bed-ridden invalid. He tries to tend to her needs, but it never seems to be satisfactory to her. One night he decides that he is done nursing her, so he murders her. The audience is brought into a cross-courtyard game of cat and mouse, through the unique perspective of Jeff and his camera lens, and also must deal with the unnerving abyss of the unseen. Hitchcock uses an unparalleled first person

Staring out the open window, Megan let the quiet breeze blow in and flow through her long, brown hair. This is where she would take in her last moments of silence. She watched as the branches swayed in the wind, their leaves just starting to turn red and fall to the ground. She thought about jumping, escaping reality, but instead turned and stepped away, dragging the fabric of her puffed up, white dress with her. Memories of her mother started to flood in her mind, drowning her with unpleasant reflections. She wondered if she would be able to make it through the rest of the day.