Alfred Hitchcock Rear Window Analysis

The Suspense and Mystery created successfully by Alfred Hitchcock in Spellbound and Rope When mention about suspense, “Hitchcock” must be the first word appears out in the mind. Alfred Hitchcock produced plenty of films which are suspense and thrilling. In his filmography, Spellbound and Rope were produced in a bit earlier stage. Spellbound is the first batch of film using the topic of Psychoanalysis. Rope is the first experiment film made by Hitchcock.

Bonnie and Clyde movie managed to reach the goal to become one of the superlative movie during that period of time. Even till today, the Bonnie and Clyde movie’s ending is told to be one of the incomparable ending ever in film history. The newborn film movement ‘New Hollywood’ still was struggling with censorship board. Arthur Penn, the director of Bonnie and Clyde proves to the world that they can produce a film which contains a lot of violence and sex scenes. The director who is a fresh university graduates from a film academy, managed to fight with some film associations and succeeded in publishing the film and get attraction from the audience after defending the film associations.

In the feature film, Rear Window, released in 1984 and directed by Alfred Hitchcock, parallels and counterpoints are employed to create narrative contrast. This ultimately enhances the character development of the protagonist, Jeff, and his romantic, Lisa. Set in a New York apartment block during the 1950s, the film explores the notions of voyeurism, dissatisfaction and the perceptions of monogamy. The discovery of a murder in an opposite apartment draws Jeff and Lisa together in their determination to solve the case. Central to the subplot, Hitchcock masterfully uses the relationships in other apartments, as well as cinematic techniques, to illuminate the progression of Jeff’s and Lisa’s relationship.

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. So, he could be described as a voyeur.

He starts to suspect a man that lives across the patio may have something to do with murdering his wife. Jeff, his girlfriend Lisa and Stella Jeff’s nurse investigate the suspicious man. The setting is Jeff’s apartment throughout the entire film. Day 2 at night, everybody is going about their merry way, Lisa is all romantic but Jeff is totally distracted. The first shot is an extreme close and the fog filter of Jeff and Lisa kissing, talking at the same time.

Finally, a type A personality can be seen throughout the entire movie. Rain Man did a outstanding job showing the characteristics of s type A personality. Even though the movie was just another way to entertain someone, it is always interesting to look up the facts behind a movie, and see how accurately a movie can demonstrate the ideas and principles being used within

Alfred Hitchcock’s film, Rear Window, is an excellent film that brings together some very interesting aspects. The film takes place in the main character, Jeff’s apartment; he is a professional photographer who broke is leg and is confined to his apartment. Jeff begins watching the daily lives of his neighbors for entertainment, he suspects that his neighbor murdered his wife and the movie is all about gathering evidence and probing that this really happened. Throughout this movie Hitchcock makes use of Mise-en-scene, characterization and secondary plot, all of which are very interesting topics that work together to make an exceptional film. Mise-en-scene is present throughout this film, but a couple aspects that are particularly significant include, the lighting, costumes/makeup, and the setting.

Despite of these paradoxes, its surface is as much interesting and entertaining as any movie ever made. The depths in the story go beyond comprehension. The more clearly the physical manifestation of the film presented, the more the audience moved by its mystery. We can say that it is one of the legacies of cinema that in 1941 a first-time director worked with an innovative cinematographer, Gregg Toland in this case, and a group of New York stage and radio actors were given a chance to make a masterpiece—Citizen Kane is beyond greatness of any movie could be; it is a collection of all the element from the rise of sound era, just how “Birth of a Nation” assembled every elements at the peak of the silent era, and pointed the way beyond narrative. These innovations stand above all the

In the film Rear Window, the director, Alfred Hitchcock uses a variety of techniques to create suspense and leave viewers on the edge of their seats throughout the film. Hitchcock uses a good assortment of tempo to create thoughts in the viewer's mind. He slows down the pace to create anticipation, and speeds it up to show a change in intensity. In the ending scene of Rear Window, Alfred Hitchcock uses changes in pace and tempo, lighting, and a short term deadline to constitute an immense atmosphere of suspense in the viewer's mind. During the final scene when the killer, Mr. Thorwald, finds his way into the hero, L.B Jeffries room, the speed of the film is slowed down to create an engaging feeling of suspense.

“There is no terror in the bang, only in the anticipation of it.” – Alfred Hitchcock.Suspense is a technique used by film directors to bring excitement to both short and feature films; leaving the audience feeling helpless yet engaged. Alfred Hitchcock, a world-renowned English director, has long been considered the ‘Master of Suspense’(Unknown, n.d.). Hitchcock spent most of his 60-year career refining suspense techniques within his films. Narrative elements such as audience knowledge, secluded location, isolated character and fake scare, are also supported by technical codes and conventions such as camera shots, lighting, camera movement and pace of editing. Hitchcock believed the real terror is the suspense leading to the climax, not the