Q – ‘’Alfred Hitchcock’s film Rear Window explores ways of seeing and spectatorship’’ The protagonist of Alfred Hitchcock’s ‘Rear Window’ is trapped, stuck in a wheelchair with a broken leg and we share his pain, we are also trapped. In a different way of course. We are trapped in his point of view. As the successful photographer that is L.B Jeffries (Jeff to his fiancée), played by James Stewart, passes his long and limited days and nights sitting by his window and shamelessly keeping an eye on his neighbours around him, we too share this obsession. The fact that Jeff has no chose but to sit and stare out the window, he cannot stop looking into this inviting and every changing view. We are like Jeff in the way that once we sit down in a cinema we too can only look at what is put in front of us. Patrick Stewart’s character symbolises all cinema goers, a human being brazenly watching the life of an alien. One of the first shots we see in the film is the opening of Jeff’s curtains by his nurse Stella (Thelma Ritter). This …show more content…
We are then first introduced to Jeff when the camera turns to him, while he sleeps in his wheelchair, fashioning a full length leg cast. It is here in this room we see Jeff sit for the majority of the film, with only one scene we see him leave his apartment and that is when he is pushed out his own window. We are introduced to the minor but vital characters including Miss Torso the dancer who entertains serval men at the one time, Miss Lonely-Hearts whose name speaks for itself, a couple who struggle with the death of their dog and a composer whose career is going nowhere. The most interesting of Jeff’s own personal entertaining cast is Mr. Thorwald, played by Raymond Burr, whose wife spends her days in bed, miserable of the life they have. It is while watching the married couple that Jeff believes he is a witness to a murder as we later find out, Mr. Thorwald has killed his
This just scratches the surface of what quintessential scenes and moments Mike Lupica is so adroit at describing. He already developed Jeff as a character throughout the story many times, but in this scene, it was like I could see how he was
Louv invites the reader to reminisce on their childhood of looking out of the window when on a car ride. Using the words “we” vulnerably makes a connection between the author and audience, allowing them to both remember the times when “We actually looked out the car window.” This allows the reader to appeal to their inner child, and reflect on the wonder and fascination that was felt when looking through the window and seeing the vast landscape. With his expert use of imagery, Louv efficiently manages to evoke feelings of bittersweet nostalgia, where readers can’t help but look back at a time where people actually payed attention to the outside world, and was not deterred by technology. Describing the time where “In our useful boredom, we used our fingers to draw pictures on fogged glass as we watched telephone poles tick by” and closing it all off with “We considered the past and dreamed of the future, and watched it all go by in the blink of an eye.”
During a group therapy session, a quarrel between Harding and Taber provided foreshadowing on the discussed theme. It was stated “Harding, why don 't you knock off the bullshit and get to the point?” “This is the point. This is the point, Taber. It 's not bullshit.
Rear window is about Jeffries, a man who is isolated in his own apartment, stuck in a wheelchair with a broken leg and has nothing better to do but gaze out his “rear window” into his neighbours private lives. Most of the gazing Jeffries does is attributed onto females. Nearly every window represents the type of relationships Jeffrey could have down the track, he's viewing marriage in its various stages, also what could be Jeffries life in the future with Lisa who wants to marry him. There is Miss lonleyhearts who is alone and depressed, the newly weds who pull down the blinds and are completely in love with each other, the bickering couple straight across from Jeffries window; mr and Mrs Thorwald. As jeff looks through his rear window into his neighbours apartments,
Hitchcock defines 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 using cinematographic devices how interprets what he sees and his own life, by stabilising a dichotomy between what he looks and what he lives. At the beginning of the film, a camera movement reveals Jeff´s profession and why he is immobilized in a wheel-chair. He is a photographer, interested in looking at other´s lives.
Ashley McCormack A Woman’s worth “Rear Window” and “The Birds” are two films directed by Alfred Hitchcock. Many aspects of these two films correlate and display the occurring themes and motifs presented in films directed by Alfred Hitchcock. However there is one theme that sets the rest apart; blonde women. The blonde women in both of these films are essential in executing the story line.
Alfred Hitchcock 's Rear Window explores the lives of those who feel isolated within society. The 1954 film, set in the tenements of Grenwich village, depicts those who are incapable of fitting into society 's expectations, as well as those who feel isolated from common interaction with others. Moreover, Hitchcock displays how its human nature to seek comfort and deeper connection even with those who are surrounded by others. Despite depicting characters as lonely, the progression of the film illustrates how individuals can be freed from isolation. The director asserts the loneliness and struggle that comes from fitting into social mores.
This meant the guilt of a burning secret kept within the main antagonist became known to that of the main protagonist. This created a deeper connection between the two characters, and the audience could also feel the overwhelming guilt of the main antagonist. as well as a sense of triumph for the main character. This is evident in Hitchcock's film "Rear Window" (1964). The transference of guilt is made crystal clear when Jeff starts to resort to what could be considered to be almost drastic measures such as peeping with a telescope and having Lisa and Stella assist in leaving the safety of the apartment to scout certain areas where they had suspicions on such as the flower bed in order to bring the murderer Thorwald to justice.
In “The Yellow Wallpaper” by Charlotte Perkins Gilman, the female narrator is greatly troubled by the suppression of her imagination by her husband and her ultimate isolation due to this subordination. These feelings are reflected through the author’s use of setting as the narrator’s dreary and malicious descriptions of the house and the wallpaper mirrors her emotional position. Throughout the reading, the reader is exposed to the narrator’s in-depth loss of touch with reality as she sinks further and further into her own reality. As she becomes more isolated, her descriptions of the house become more abstract as she begins to focus on the wallpaper and starts to see herself as being hidden behind it.
Alfred Hitchcock’s Rear Window has several themes. One major theme is relationships. The lead character, Jeff Jeffries, a photographer and committed bachelor, is involved in a relationship with Lisa Fremont, a model, although the relationship has some tension due to Jeff’s lack of commitment. When Jeff is confined to his apartment recovering from a broken leg, he begins spying through his rear window on his neighbors in a nearby apartment. Through her frequent visits, Lisa is drawn into this spying as well.
Rear Window by Alfred Hitchcock depicts men and women in the 1950's and how they are different and the same when representing their gender roles. There are circumstances in the movie where the gender roles change and switch around. When jeff has a broken leg he needs two women to help him around the house. Nurse Stella and his girlfriend Lisa both take pride in taking care of jeff. There were many different roles depicted in the movie, there were happy couples, sad couples, happy singles, and sad singles.
Diction is employed in the line “He gazed out the window of the rocket, blankly.” with the application of the word ‘blankly’ (108). The term ‘blankly’ presents incomprehension and ignorance. It acknowledges that Hitchcock truly does not understand what is on the outside and ignorantly refuses to educate himself on reality. Bradbury develops diction here with the purpose of exhibiting that the advancement of technology has the effect of pushing people to become ignorant of reality because while in the rocket, Hitchcock only believes in “…you and me and this rocket ship.”
INTRODUCTION Descriptive and figurative language is a way for an author to express and bring their characters’ life and experiences to life. Descriptive language is used to create images that appeal to the reader’s senses. Helping the reader to get a clear picture of how the subject looks, feels, smell or taste. In Vertigo, Amanda Lohrey uses descriptive language to bring the characters to life. She uses this to layer the emotions as they lead up to the climax.
The Piano man turns on his lights, which shine on Jefferies’ face to foreshadow a realization. The piano man stumbles into his studio apartment drunk. He then shoves his music off of the piano and collapses into a nearby chair. At first Jefferies laughs at the piano man. However, Jefferies soon realizes that the piano man’s actions merely animate his own feelings, causing Jefferies to cast his gaze down in shame for laughing.
The killer is in the room and he only has a limited period of time to save himself from danger. The final scene of “Rear Window” is a fight against time. L.B Jeffries is stuck in a cast and he can not defend himself but Mr. Thorwald is in his room and ready to attack him. The police are also on their way to Jeffries room to arrest Thorwald. Jeffries does what he can to get more time so he uses his camera flash to blind Thorwald.