auteur əʊˈtəː,ɔː-/ noun a film director who influences their films so much that they rank as their author.
There are distinctive similarities between all Hitchcock Films, some of the being voyeurism, falling, transference of guilt, food and death. There are two Hitchcock films that are going to be the main focus for this piece of writing, ‘Rear Window’ (1954) and ‘Shadow of the doubt’ (1943).
Alfred Hitchcock’s distinctive style can be seen in both movies. Young Charlie (shadow of the doubt) and L.B Jefferies are both similar, in which they are both trapped. L.B Jefferies is bedridden throughout the film, so he is trapped and can 't move about. After discovering the truth about her Uncle Charlie, young Charlie is trapped and cannot escape her dreaded uncle. Both L.B Jefferies and Uncle Charlie have scenes where they fall, Jefferies get pushed out his own window and Uncle Charlie gets accidentally pushed out
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There was only one Mcguffin in Rear Window, the flower bed. L.B Jefferies, Stella and Lisa Fremont suspected that there was a possible buried body underneath the flowers. They came to this conclusion because of the neighbor 's dog digging into the flowers, also the flowers looked like they were dug up and replanted. Stella and Lisa at night time, both went to the flower bed and found nothing, making it the Mcguffin. In Shadow of a Doubt, there were two Mcguffins, the newspaper article about the ‘Merry Widow Murderer’ and the ring that Uncle Charlie gave to young Charlie. The ring was never handed into police or used against Uncle Charlie. Even though the ring was a clear piece of evidence that helped young Charlie figure out that her Uncle was the killer, that was its only use in the film, and it made the plot of the story move forward. Same with the newspaper article, it wasn 't brought back up throughout the film, it was merely there to keep the plot moving
The term auteur was introduced for the first time in the famous 1954 article “Une Certaine tendance du cinéma français” (“A Certain Tendency of the French Cinema”) , which was written by François Truffaut and was published in the French magazine Cahiers du cinema (Notebooks on cinema). Truffaut along with the editor of the Cahiers magazine, André Bazin, as well as other film critics such as Jean-Luc Godard, Eric Rohmer, and Jacques
The Auteur Theory, a theory formulated by François Truffaut states the idea that the true author of a film is the director. The Auteur Theory revolves around how the director leaves an implicit mark on the film and because of this cinematic, literary, or thematic signature or motif, they are credited as the author of the film. While there are numerous people involved in the production of a film, with some directors it is truly prominent who can be described as the author of the film such as with Mel Brooks. Mel Brooks, renown comical director and screenwriter is one instance of the undeniability of the Auteur Theory. Despite Mel Brook’s complete involvement in his films, writing, co-writing, directing, and even starring in many of his films,
Rear Window by Alfred Hitchcock is a fillm full of symbolism and motifs that provides viewers with a bigger meaning. It shows these rhetorical appeals through Hitchcok’s eyes that would not be recognized if not analyzed. Through these appeals I have recognized the window as being a symbol and marriage and binoculars as motifs. After understanding much more than what the eye anitially sees when viewing this film there is a fine line between understanding what is going on in the film and observing what the protagonist Jeff is viewing.
Hitchcock was very involved in his work and very creative. He used chocolate syrup for fake blood, although he went a little too far sometimes, for instance he threw real dead birds at an actress for a scene, without telling her they were not just props in his famous film The Birds. Hitchcock was also known for having cameos in his own movies, meaning he himself would have a small roll or just be in the background in a scene. As the “Master of Suspense” Hitchcock kept his audience on the edges of their seats with all of his
Auteur is the french word for author and is a term given to those far and few between who were responsible for handling and directing most of, if not all post and prior production of a film, including techniques, advertising, and choice of cast. So much so that they are considered to be the "author" of the film. Alfred Hitchcock has no doubt left an indelible and engraved mark on all of cinematography as one of the most successful and influential auteurs of all time, as seen through the wide range of techniques Hitchcock employed throughout his films such as voyeurism, doubleness, and the famed magcuffin, as can clearly be seen in the film "Rear Window" as well as "Shadow of a Doubt". Hitchcock also showed immense dedication to the post and
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.
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. The first key element of mise-en-scene that played a significant role in both movies was lighting.
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.
Psycho (1960) Alfred Hitchcocks powerful and complex psychological thriller, horror film “Psycho” (1960) was classes as the first sub genre of horror, the slasher. The film ushered in the era of slashes with graphic content of blood-letting and shocking killings of the time. Although this was Hitchcock’s first horror film, he was labelled as a horror film director ever since. The film contains disturbing themes of corruptibility, confused identities, voyeurism, human vulnerabilities and victimisation. These themes symbolise the effects of money, oedipal murder and the dark histories.
As the man tackles him and lands on top of him. The other people start to run toward them. Charlie is up on his feet, breaks away from the other man's grasp, lands a couple of desperate punches that push the man aside. Then he forces his way, fighting through the crowd to once again break free, jumps up on his front porch. On the front porch as a rock thrown from the group smashes a window alongside of him, the broken glass flying past him.
Hitchcock’s Journal: Biographical Criticism of Hitchcock in His Films Vertigo (1958) and The Birds (1963) Alfred Hitchcock was born in Leytonstone, England during the Edwardian Era. His parents, William and Emma Hitchcock, instilled the ideas of guilt and punishment into him from an early age. They were devout Catholics and sent their son to a strict religious boarding school.
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.
: For my presentation I have chosen to examine Steven Spielberg and what stylistic features he uses to make himself considered as an auteur. An auteur is a director that has a unique style in filming and has complete control of the production process of the film. The three films that I have chosen to focus on are E.T. The Extra-Terrestrial (1982), A.I. Artificial Intelligence(2001) and Close Encounters (1977). These are three of Steven Spielberg's most known films.
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
The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own.