Hollywood has always done a terrible job of depicting real women in film, and although his work has a somewhat misogynistic reputation, Alfred Hitchcock has done so much involving the progression of female roles in Hollywood cinema. Although many of his female victims wind up dead, the survivors have lots of power – and without reliance on their male counterparts. Women remain the central focus in many of Hitchcock’s films, not just because of their beauty, but because the narrative is dependent on them. When you look at his work in the context of this specific Hollywood era, Hitchcock’s female characters are very much out of the ordinary. Looking past the obvious presence of gender roles (male and female) that just so happened to be a part of the social norm during that time, Hitchcock sought to represent women with having more depth, realism, and independence than ever before in women in Hollywood.
Hitchcock has been described by many film reviewers as ‘a master of mystery, a connoisseur of compelling cryptic suspense”, however, the manner in which he depicted gender roles was concrete in its rigidity. Having directed and cast over 70 films, Hitchcock has himself admitted that women are often seen as objects and that the only reason they exist in his films is as a supporting role to the male actor. Rear Window’s main three female roles consist of the scantily clad Ms Torso, named only by a body part, and the glamourous Lisa and nurse Stella whose roles are limited to enabling Jeff to follow his pursuits. How can this be
Alfred Hitchcock, director and producer of Rear Window, drew his idea for the film from Cornell Woolrich’s short story, “It Had to Be Murder.” He also drew inspiration from 1950s American culture, such as Americans’ suspicion of others during the Cold War era, the overall impending fear of communism, and women’s gender roles. Rear Window predominantly focuses on female objectification and the male gaze through the POV of the subjectively perverted L.B. Jeffries. Hitchcock opens up the movie with a pan shot, where the viewer is introduced to who will soon be called Ms.Torso and Ms.Lonelyhearts.
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.
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.
Sad-frown. Use corresponding face with corresponding emotion (French Kiss, 1995) 5 Princess Anne 5 Kate 6 Joe Bradley 7 Luc Tessier 7 Side characters: 8 Gender studies 8 Conclusion 9 Abstract This article presents the roles of a man and a woman in two different eras through two movies: Roman Holiday (1953) and French Kiss (1995). The focus is on the analysis of the characters, their differences and similarities and messages directors wanted to send considering gender roles in society during the 1950s and 1990s. The method is to make the structure of the essay similar to the structure of filmmaking and pay attention to many elements and symbols that influenced the viewers, consciously or unconsciously.
With Rear Window (1954), Alfred Hitchcock proved himself to be one of the best directors of suspense thrillers filled with mystery and humour. He himself called the film his most cinematic one because it was told only in visual terms (Morrow), but it was also a challenging “editing experiment” as the entire film was shot from one place, Jeff’s apartment that overlooked his backyard. The Film follows L.B. Jeffries “Jeff” (James Stewart), a photographer confined to a wheelchair in his apartment after breaking his leg at work. He spends his days watching his neighbours and eventually suspects that one of them killed his wife. His caretaker, his girlfriend Lisa and his detective friend, at first unconvinced of his suspicion, eventually join him in his voyeurism and help him to solve the crime.
This is suggested by Helen Simpson who stated that Carter centralises ‘latent content of fairy-tale’ is that women are objects of male desire hence patriarchal discourse establishes male supremacy to which Carter does this to challenge contemporary perspectives on the place of women by revealing the oppression that society inflicted. The Marquis is an overt example of male ownership of female bodies. Similarly, where Atwood exposes the harsh realities of oppressive patriarchy through the female body, Carter utilises the construct of the Marquis in the eponymous story ‘The Bloody Chamber’ as a grotesque embodiment of patriarchal control. In her essay ‘Visual Pleasure and Narrative Cinema’ Laura Mulvey coined the feminist term ‘male gaze.’ She argues that men are the audience and women are to embody the male perspective of women as objects of satisfaction.
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.
The media has long been recognized as important source of gender related information, television and cinema specifically influences its audience in a considerable way. (Denmark and Paludi 2008). With regards to the concept of gender cinema can offer a space where ambiguities of identities are played out; understanding the play of the categories of femininity and masculinity is very important in evaluating our own understandings of gender and how we react to different representations of it (Tasker 2002).If a film can show different individuals and we can recognize how social forces shape and constrain the individual according to classifications of gender it narrates an experience where we experience the film as gendered viewers. Film reflects and generates out own experience of gender over and above out own recognition and observation of it. (Pomerance 2001).
Both of Alfred Hitchcock’s films, North by Northwest and Rear Window, were great movies with lots of suspense. The suspense, however, would not have been created without the entire mise-en-scene of the movies. Hitchcock was a master at using the elements of lighting, sound, and cinematography to heighten the suspense in his movies.
In contrast to the twentieth century we still see some of this in our current day and ages. Contrasting portrayals of men and women in films leave us with the fact that we haven’t changed. Men and women are sought to have different gender roles within
She argues that the act of moviegoing satisfies these voyeuristic desires in people. She writes, “The mass of mainstream film portray a hermetically sealed world which unwinds magically, indifferent to the presence of the audience, producing for them a sense of separation and playing on their voyeuristic fantasy,” (pg. 186). In this essay, I will further discuss her viewpoints on cinema and voyeurism, and how it connects to the film Rear Window by Alfred Hitchcock. Rear Window is a film that follows the
Rear Window Argues that people should mind their own business. Do you agree? Rear Window, a 1954 romance/murder-mystery by the renowned golden age director Alfred Hitchcock, is a film that explores a multitude of themes and genres through the voyeuristic gaze of protagonist L.B. Jefferies. Jefferies, or ‘Jeff’ as he commonly known throughout the film, is a middle-aged bachelor recently hospitalised due to his high-risk career as a photojournalist. This hindered condition serves as an important foundation on which the movie is built upon as Jeff’s forced lifestyle being in a wheelchair causes an abrupt stop in his usual high intensity way of life and causes him to quench his boredom in other ways, predominantly watching the other residents in his apartment complex through the ‘rear window’ of his apartment.
Abstract: In most parts of the world, females have always been the victim of oppressive patriarchy and male chauvinism since ages. This problem has been represented by many people through various forms of creations be it art, literature or films. Films are the most popular visual mediums of entertainment through which a large segment of people can be approached. Like literature, a film is also a work of art which mirrors the society, it also depicts the reality of the society though it has some fictionality in it.