The Character Evolution Of Jeff and the Realizations he Faces
Rear Window by Alfred Hitchcock is a film full of symbolism and motifs that provides viewers with a bigger meaning. It shows these rhetorical appeals through Hitchcock’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 initially 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. The film first starts out with the protagonist’s view of what is going on around him through the use of binoculars. Jeff is a photographer, so his natural instinct is to view others through a lenses. These binoculars act as his sight as Jeff is confined to a wheelchair due to breaking his leg from an accident. As he is …show more content…
The lack of communication has lead everyone in the community to struggle with relationships. Jeff himself is in a committed relationship with a woman named Lisa. The dilemma he faces is the idea or marriage. When he looks through the window at the unhappy couple my interpretation is that he feels as if it could be a strong representation of what Lisa and him could be in the future. Early on in the film Stella, Jeff’s nurse explains that “People nowadays look too deeply into relationships.” This concept that Stella explains relates to many of the neighbors as well. You have Mrs. Lonelyhart who instead of struggling with a current relationship, couldn’t find one to begin with. And because she kept over thinking the fact that she was lonely it drove her to almost commit suicide. You then have Jeff that fails to realize what a wonderful woman Lisa is. This is shown through Jeff’s conversation with his
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[a] Boorstin’s “Three Eye Theory” is the theory that the common viewer watches every film three different ways at the same time. These three “eyes” are called the Voyeur’s eye, the Vicarious eye, and the Visceral eye. The Voyeur’s eye is the observation of the film; it is own mind trying to understand and interpret what we see. It is logical and reflective. It “sees” the logic of the film.
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.
“We’ve become a nation of peeping toms,” states James Stewart’s nurse, played by Thelma Ritter, in Alfred Hitchcock’s 1954 film Rear Window. Ritter’s comment ironically foreshadows events later in the film, but simultaneously provides a critique of the voyeuristic nature of cinema itself. Rear Window’s marketing campaign and public reception both center on the notion of ‘peeping,’ but present differing standpoints on Hitchcock’s exhibition and apparent promotion of the morbid curiosity at the root of human nature during the era of post-war paranoia. A theme often apparent in Hitchcock films is the idea of lost identity, a concept that can easily contribute to obsessive fear, which was not an unfamiliar sensation for American citizens during
In Rear Window, Alfred Hitchcock masterfully uses the characters he has created and weaves an intricate storyline by using their relationships with one another. Although each of the characters is, at first, presented as a cliché, their development is an extraordinary, fast-paced journey to behold. In a very short time, each of the characters undergoes massive changes to their personalities, making for a captivating movie. It is the relationships between the main characters that enthrall the viewer and make Rear Window such a compelling film. James Stewart’s portrayal of L.B. Jefferies creates an intriguing and multifaceted character.
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.
Rear Window thrusts us into the role of a voyeuristic neighbor, a role that we find ourselves quite comfortable filling. The point of voyeurism though, is that it is always a one-way street; we find comfort in knowing that we are able to watch others while we ourselves remain unseen. Together with our wheelchair ridden protagonist, LB “Jeff” Jeffries, we watch through a series of open windows as Jeff’s various neighbors go about their day to day lives. Though all of these people are placed there to distract us from the main event in an apartment across the courtyard: a neighbor, Mr.Thorwald, covering up the murder of his wife. A growing obsession leads to dangerous ambition as Jeff is forced to face the reality of this voyeuristic ‘sins’ when
The anonymousness of the benefactor and the confusion or complications it brought into the story. The division and inhumanness of the division in classes of the character such as seen in the relationship between Pip (boy) and Estella, or Pip and Trabb’s boy. Focalization in cases of characters like Trabb’s boy and Orlick tend to make Pip seem somewhat of a snob, his ill treatment of Trabb’s boy throughout the book is hard to miss, especially since there was in reality very little difference between him and Trabb ’s boy. As far as the book goes, had Magwitch not met Pip as a child, Pip could have possibly ended up living a very similar life to that of Trabb’s boy.
In many films, symbolism is an often-used tool that aide in making the viewing experience more profitable. One way the viewer is led to an in-depth understanding is to examine the scenes produced in the film that develop both firm and symbolic meanings. Studying what goes into the scene (Mise-en-Scene) in effect leads to this better understanding. In the film Vertigo, John Ferguson is asked to follow his friends’ wife, Madeleine Elster. As he follows her, there are intricate scenes that reveal essential details about the film.
Ashley McCormack A Woman’s worth “Rear Window” and “The Birds” are two films directed by Alfred Hitchcock. Many aspects of these two films correlate and display the occurring themes and motifs presented in films directed by Alfred Hitchcock. However there is one theme that sets the rest apart; blonde women. The blonde women in both of these films are essential in executing the story line.
In 1953 Hitchcock signed a new deal with Paramount for several features, beginning with Rear Window (1954). Paramount introduced VistaVision process with White Christmas on October 14, 1954 ten weeks after the opening of Rear Window. VistaVision was introduced as an answer to the technical innovation of CinemaScope propriety to Twentieth Century-Fox and to entice audience to the theatre in the 1950s. The other films that borne out of Paramount deal were: To Catch a Thief (1955), The Trouble with Harry (1955), and The Man Who Knew Too Much (1956). Much of Hitchcock’s work in the 1940s scathingly criticises social proprieties and bourgeois sensibilities and in the 1950s took a softened tone when he worked for the big studios and kept in his
Alfred Hitchcock used various symbols throughout the film Psycho to allow the viewer to get an insight of what is happening in the film. Symbolism is an exceptional way to entice the viewer as it creates suspense and makes it better to understand the film. Alfred uses paintings as a symbol, which can be seen in multiple scenes, to symbolize a certain character in the film to the painting and foreshadow events in the film. This allows the viewer to get more detail on the character’s personality and what is about to happen.
Once Alfred Hitchcock defined his film Rear Window (Hitchcock, 1954), as the story of a man who cannot move and looks through a window, what he sees and how he reacts to it (Truffaut, 1986). For this reason, Hitchcock constructs the character of the protagonist of the film, Jeff (James Steward), not only by using cinematographic devices but also through Jeff´s interpretation of what he sees related his own life, showing a dichotomy between what he looks at 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; consequently, he could be described as a voyeur.
Imagine living in a world where precrime was a way of life and used to help decrease the number of crimes. Naturally, such an invention would cause a struggle with the citizens under effect of this creation. Stephen Spielberg's Minority Report uses cinematic elements such as sound, mise en scéne facial expressions, lighting, and symbolism to depict the theme of struggle between the characters. The scene that shows the characters in conflict with either each other, or themselves is where the main character struggles with himself and another character. Throughout the scene analyzed in this essay, the struggle between John, Agatha and Crow is highlighted by these effects.
Hitchcock’s emotional story of obsession, manipulation and fear leads to the succession of madness and lies reflecting vertigo. The film vertigo portrays how the biggest fear can lead to the terrible accidents and how it can affect a person emotionally. And later, how the same accident helps to overcome that fear (when Scottie takes Judy back to the church tower, his fear is gone). Thus, vertigo is the melodrama around the three characters only with the depth of vicious
In the end, other than actually sitting down and having a conversation with her, we really do not know exactly what was on in this woman’s mind. However, it is safe to assume that there is more to a person than what we see. In “Chrysanthemums”, by John Steinbeck, Steinbeck tells a story about a woman named Elisa Allen who seems to be happy (since she has a nice home, husband, and a beautiful garden), but we realize that there is more to Elisa than meets the eye. Elisa, who seems to be happy, is in all actuality not happy at all. And we see this unhappiness with not only her dissatisfaction of being a housewife, and with the fact that she does not have control over her own life, but also with the introduction of the “Tinker Man” who reminds her what true happiness feels