Movie, Rear Window, By Alfred Hitchcock

Alfred Hitchcock's 1954 film Rear Window is a representation of the attitudes towards men and women in the 1950's. Through this film Lisa Freemont and L.B Jeffries experience a power shift in their relationship due to each individual's capabilities and ideas regarding the suspected murder case. Lisa and Jeffries' relationship progresses through the film and their relationship experiences a power shift.

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.

Not only were the viewers placed there as onlookers but also in the form of the character. Jeffries, is always looking through binoculars searching for clues and information about his neighbor, his wife, and both of their whereabouts during the film. When watching his neighbor come home one day we are placed in the scene as Jeffries, looking through the binoculars with his eyes. Another time we are placed in the scene as a detective. The camera places us there and guides us through scenes. Each time, we are unintentionally and unconsciously looking for information and answers that we were unaware of existing or at the scene in general. The camera even guides us around Jeffries’ neighbor’s room through the binoculars. As his neighbor comes home we view him talking on the phone. While looking at him through the binoculars or Jeffries’ eyes we read his lips trying to read what he is saying to the other person about the mystery on the other line. We are forced to look at him fondling his wife’s jewelry and wedding ring while asking the person on the other line what to do about it. Here, we as the viewer are presents information about the mystery, or the disappearance of the neighbor’s wife and we concluded that there was something inevitably wrong about the situation, proving Jefferies’ assumptions about his neighbor and the murder of his wife to be shockingly convincible. We are led to believe Jefferies’

only what he wants us to see, and shows us the scenarios from the eyes

The film, Confessions of a Sociopath, was made by the critically acclaimed director Joe Gibbons. Joe Gibbons is famous for his experimental films, and this film is perhaps his best project to date. The film is an hour long and takes the viewer through real life events that have occurred in Joe’s life. In the film, Gibbons acts as a fictional version of himself where he finds a room full of footage from his life with events that he can no longer recall. The film describes his earlier film experiments, his descent into constructive behavior and his bottoming out on drugs and alcohol. It is intriguing to see a side of a well-known film maker that no one would have thought existed. The film is also greatly intriguing because it is not made in the traditional professional way. The viewer is taken through a series of events that seem normal and completely unscripted. It is also clear that most of the events in the film were shot without the assistance of professional cameramen and directors save for Gibbons himself.

The Thomas Crown Affair is a film depicting a very rich man, named Thomas Crown, who struggles with creating meaningful relationships but yet is widely known, and finds entertainment through stealing famous paintings from a museum. Throughout the film the audience creates a relationship with the character, Thomas Crown, and his likeable, playful attitude that soon enough has the viewer siding with him, the criminal, instead of the police enforcement trying to catch him. By closely looking at a scene between Thomas Crown and Detective Catherine Banning, it is possible to analyze both the dialogue and cinematography used for the viewer to understand Crown’s viewpoint, as well as where Banning’s attitude may play in later. By understanding the attitude’s of both Crown and Banning in the film, I believe it can

Alfred Hitchcock’s film Shadow of a Doubt is a true masterpiece. Hitchcock brings the perfect mix of horror, suspense, and drama to a small American town. One of the scenes that exemplifies his masterful style takes place in a bar between the two main characters, Charlie Newton and her uncle Charlie. Hitchcock was quoted as saying that Shadow of a Doubt, “brought murder and violence back in the home, where it rightly belongs.” This quote, although humorous, reaffirms the main theme of the film: we find evil in the places we least expect it. Through careful analysis of the bar scene, we see how Hitchcock underlies and reinforces this theme through the setting, camera angles,

In Rear Window, Hitchcock uses visuals in order to capture the perfect cinematic film and experience. We as the viewers identify with Jeff because much like how he is watching his neighbors, we are also speculating his life as a film. Our hero, L.B. Jeffries or “Jeff”, out of boredom creates an outdoor theater for himself by spying on his the people outside his window. Hitchcock uses “murder-as-entertainment” and the idea of watching a cinematic film as ways to captivate the viewers and make us subconsciously take part in intruding on someone else’s life. Hitchcock then punishes Jeff and the viewers for being “peeping toms” and casting our unwanted voyeurism on other people’s private lives. Through fear and embarrassment, Hitchcock puts our actions into perspective as we become self-conscious of our indecent objectification toward human lives.

In Alfred Hitchcock’s 1954 thriller, Rear Window, broken-legged L.B. Jeffreys, played by James Stewart watches his neighbors through his back window and becomes obsessed with solving a murder mystery in one neighbor’s apartment, aided by Lisa Fremont, played by Grace Kelly. At first, Lisa does not seem able to fit into Jeffreys’ adventurous lifestyle as a photojournalist, nor does she take an active interest in his mystery. She begins the film being feminine, inactive and seemingly incompatible with Jeffreys. As the film progresses, she becomes a more active participant and demonstrates her ability to integrate into Jeffreys’

Jeff had lost both of his legs in the Boston Bombing in 2013 while going to support his girlfriend, Erin Hurley, at the Boston marathon. There he witnessed one of the bombers, and although he possibly saved many other lives and helped many people find closure, this helpful witness lost both of his legs because of it. Like Louie after the war, post bombing Jeff became depressed and coped with it through alcohol. Jeff could not seem to find the good in the situation after the bombing all he could focus on was his loss: loss of his legs, loss of his freedom, and loss of his independence. He stated in an interview, “and especially when I lost my legs I was like, ‘ Man now what?’

Introduction: Alfred Hitchcock's "Rear Window" is a timeless cinematic masterpiece that weaves a captivating narrative. Set against the backdrop of a confined apartment, the film opens with a sweeping view of the courtyard, introducing the audience to the voyeuristic perspective that will become a hallmark of the storytelling. Innovative Narrative Perspective: A New Perspective? At the heart of the film's brilliance is the innovative narrative perspective.

The film Crash, written and directed by Paul Haggis, examines racial exchanges in several different ethnic groups living in Los Angeles. As the film move forward, we are able to view how each characters’ own racist experiences change their attitudes towards other races. Paul Haggis illustrates those change through the mood tone, setting, and even the music. By the end of the movie, the audience is left with a feeling of hope and an ambition to examine its own thought and actions towards others. Even though critics argue that the film Crash is stereotypically racist, the film encourages America to see past the misbelief we have of each other because empathy and self-examination is the starting place for change and the destruction of society is based on one’s choices.

‘The Grand Budapest Hotel’ (Wes Anderson, 2014) combines a perfect mix of nostalgia and history. The film explores the themes of war as it recreates history through mise-en-scene. Anderson also incorporates other themes such as racism and elitism during pre-war Europe. The film widely explores Europe from many viewpoints, one of which is of Mr Moustafa. His nostalgia is seen through flashbacks of when he was a lobby boy that went by the name of Zero. As an audience the depth of his nostalgia is seen through mise-en-scene. With the help of cinematography and props we see can see the time and place that Moustafa acknowledges. Anderson shows how history is reimagined through ones nostalgia. Mr Moustafa recalls events, which he was not present in yet he explains them as if he were there. This also shows how one reimagines history from another due to emotions and personal attachment. Despite the outcome being the same there are many viewpoints it can be seen from.

Rear Window has unique filmography. Emphasising the idea of voyeurism and watching others. Observing the first scene instead of beholding the main character or even side characters, you recognize the building of the various apartments and the courtyard and then you meet Jeff. Jeff is a broken man, he lays down sweating, asleep on a chair. But you only catch a glimpse of Jeff, he is not important instead the film focuses on the people in the apartments nearby in the rest of the film he will watch out his window. Through this film, you observe this evolution of the characters through the lens of this beautifully shot film made by the sets and background characters. Without sets, this film would not be exactly what it is. This story is told through its images, music and background characters as much if more than its lead. This is a movie about watching movies and as an audience member, you're watching Jeff watches his neighbors. Hitchcock bluntly tells us we are watching a film. An enormous amount of the film is at night similar to a dark theater this is shown in. Hitchcock shows the audience us through Jeff.

Rear Window is odd in how it is filmed. Emphasising the idea of voyeurism and watching others. You see, this is the first scene instead of seeing the main character or even side characters, you see the building of the many apartments and the courtyard and then you meet Jeff. Jeff you can see is a broken man, he lays down sweating, a sleep on a chair. But you only see Jeff a glance like he is not important instead the film focusses on the people in the apartments nearby in the rest of the film he will watch out his window. Through this film you see this evolution of the characters through the lens of this beautifully shot film made by the sets and background characters. Without sets this film would not be what it is. This story is told through its images, music and background characters as much if more than its lead. This is a movie about watching movies and as an audience member, you're watching Jeff watches his neighbors. Hitchcock bluntly tells us we are watching a film. An emourous amount of the film is at night like the dark theater this is shown in. Hitchcock shows the audience ourselves through Jeff.