Suspense In The Film 'Rear Window'

it is the start of the story. The window fills the whole frame of the

The most important of any story is the beginning, it's the hook to all movies, TV shows and books this is the way the author or director is setting the stage. In “Rear Window” and “Psycho” the beginning for both the books and movies are completely different. Psycho begins with Marion and her boyfriend Sam just sleeping together and she’s getting dress for work. Her and Sam have a talk about their future together; he tells her it's not very comfortable where he lives. He's in a lot of debt with the hardware store plus the alimony he’s forced to pay to his ex-wife and until he gets out of it, he chooses not to marry her. She goes to work at the real estate office and there's a high roller who comes to put a 40,000 down payment on a house for his daughter as a wedding present. She steals

Alfred Hitchcock’s film North by Northwest (1959) is famed as a classic man-on-the-run thriller, following protagonist Roger Thornhill as he flees across state lines in a mad dash to save his life and unravel the mystery to his extraordinary predicament. However, mid-way through the film Thornhill’s quandary is further complicated by the introduction of Eve Kendall, a beautiful yet mysterious woman he encounters on a train during his escape from the authorities and people trying to kill him. During the dining room scene on the train, Hitchcock expertly uses the camera to convey the characters thoughts and feelings. Interestingly, in a film that has several sequences with complicated cinematography and editing, the dining car scene is

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:

The opening scene in Alfred Hitchcock’s Rear Window essentially acts as one long establishing shot — only rather than establishing just the location of a scene, it establishes the entire film in more ways than one. One particularly important shot in the scene, beginning 00:02:36 into the film, tells the audience much of what it will need to know about Rear Window’s setting, characters, and themes.

Alfred Hitchcock’s Rear Window is a uniquely captivating film that is an exemplary style of cinematic craftsmanship. Reaching into the minds of the characters, as well as the audience, Alfred Hitchcock is the master at utilizing the juxtaposition of images to bring us into the minds of the characters. In Rear Window, the story is so distinctively executed that it allows us to relate to our own curiosities, question our identities, and ponder our closest relationships. What is happening on the screen is merely a projection of our own anxieties, our own existence, and our self-ambiguity as portrayed by the characters in this wonderful film.

In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his neighbors’ lives become the subject for the plot. Each window represents a different film screen, each which is focused upon only when Jeffries directs his attention to it. He witnesses both the anxieties associated with the beginning of a marriage and the heartache of relationships ending. The

The film Rear Window, released in 1954, and directed by Alfred Hitchcock, portrays the shift of power in the relationship between the central characters of Lisa Freemont and L.B. "Jeff" Jeffries throughout the film. As the characters are introduced in the beginning of the film, Jeffries is shown to have control of the relationship between himself and Miss Freemont, the power later shifts to Lisa as the film progresses and she takes an interest in the suspected murder. However, the film ends with relative equality within the relationship, after Lisa's intelligence is discovered by her partner.

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.

Both Rear Window and Vertigo engage in some of these Hitchcockian themes, notably, obsession, and the equation of knowledge and danger, where “individuals…face danger…after learning some piece of information”(Sterritt 8). In Rear Window, Jeff becomes consumed by his obsession to understand and solve the crime he believes Mr. Thorwald has committed; this obsession drives the narrative, as Jeff slowly uncovers what has happened. His obsession also exemplifies the theme of knowledge as dangerous, as in executing his ‘investigation’ he places himself in danger, as we see towards the very end of the film, but he also places Lisa in danger when she enters the Thorwalds’ apartment to find evidence. In Vertigo we see Scottie become obsessed with the character Madeleine, through both his short love affair with her, and as well in his makeover of Judy to resemble the Madeleine whom she once acted as. He also becomes, to a certain extent, obsessed with conquering his Vertigo; he tries, with Midge to try and combat it initially, but ultimately reaches his climax with the illness with Judy acting as

Alfred Hitchcock’s 1954 film “Rear Window” demonstrated a suspenseful and terrifying storyline, which captured the attention of a variety of audiences. The film focuses on James Stuart (Jeff) and ultimately his neighbors who live around him. Stuart is crippled from the beginning of the movie and is unable to leave his apartment. Due to his immobility, he remains confined in his home with a broken leg and begins to watch his neighbor’s particular behaviors and routines. The film progresses into drama and suspense that is seen through music, lighting, film editing processing and extensive detail to the neighborhood being watched. Rear Window exhibits these details in the scene where Grace Kelly who plays the role of Lisa, attempts to

The first instance of window imagery is deceivingly small and easy to pass over, but upon reflection it creates a certain symmetry by subtly foreshadowing the final window scene. In the very opening section of the book, Clarissa’s departure from the house dredges up memories of her time at Bourton, of scenes with Peter Walsh that took place in front of an open window. This memory, brought about by the impact of the early morning air, also reminds her of the “solemn” feeling this incident gave her “standing there at the open window, that something awful was about to happen.” Though fleeting and lightly discussed, this emotion placed so close to the beginning of the novel seems to indicate the dangerous nature of an open window, which anticipates both Septimus’ death and Clarissa’s later musings in front of a window.

Alfred Hitchcock’s thriller ‘Rear Window’ (Hitchcock, 1954) begins with the immediate use of mise-en-scène in order to establish a sense of atmosphere, equilibrium and the mundane, soon to be disrupted as the events of the film unfold and are observed through the eyes of the voyeuristic protagonist, Jeff. Setting, cinematography and various other expressive mise-en-scène techniques work together to influence the overall appearance of the film. Though, by taking a closer look, these techniques reveal the significance of the narrative and characters. In the opening sequence, Hitchcock’s original visual style provides signposts for the audience to recognize what will be significant in the future: instead of establishing what is only happening in the moment in time; mise-en-scène is used to suggest what is to come. This arrangement of the “Classical Hollywood” narrative - starting with the setting and characters in a state equilibrium - acts as a seemingly all-purpose, archetypal opening by establishing location and introducing character. Simultaneously we can see that this sequence is vastly different from the rest of the film: it is leading the viewer into a false sense of security – the calm before the storm – as Jeff soon happens to piece together information leading to the possibility that one of his neighbors murdered their wife. This sequence is one of the only moments in the film we see things the protagonist does not, thus this carefully constructed opening is preparing

The Secret Window is a film released in 2004 directed by David Koepp and written by Stephen King. The main issue in this film is one of a psychological basis which keeps the audience on their toes and maybe even slightly confused until all of the pieces fit together at the end of the film. The purpose of this paper is to analyze the psychological issue that plagues the main character, Mort Rainey (portrayed by Johnny Depp), and identify any biases or misinformation presented in the film.

The opening images of Rear Window introduces the audience to J.B. Jefferies apartment with the window curtains rising. The camera is facing outside the window which reveals the small courtyard. After the camera gives the audience a tour of the courtyard, it then shows us Jeff sleeping on his wheel chair. From this, the audience should be able to perceive there is no privacy at all for the neighbors. What one does, everyone is able to see (only if they are observing). The music in the beginning sets the mood, the audience should feel safe and mellow as if nothing bad is going to happen. There is not one suspicion which tells the audience there will be a murder case throughout this film. With that in mind, the theme is portrayed through Jeff’s perspective from his observation of the neighbors. He observes the love life of his neighbors while he is questioning his own