Alfred Hitchcock's Rear Window and Mark Pellington's Arlington Road, though similar in premise and location, the films are quite different from each other. Hitchcock uses point-of-view to put the viewer in the protagonist's position, he “blurs” the line between good and evil, his antagonists tend to be charismatic, and his films always have a happy ending. Although Rear Window and Arlington Road have similar story lines, the way the stories are told are quite different, as Mark Pellington and Alfred Hitchcock have two different directing and storytelling styles.
Other that the similar premise and plot, Rear Window and Arlington Road are two completely different films. Arlington Road may have some similar points from Rear Window, it really should not be compared to Hitchcock's film, and definitely should not be compared to Rear Window, since they have different story lines, are from two completely different generations and two different directors, and neither one is a remake of the other. Hitchcock's style of telling a story consists of the protagonist and antagonist being everyday people, but neither one of them is inherently good or evil. Each character has good and evil traits, but what makes them good or evil in a Hitchcock film is how far they are willing to be pushed before they snap. Point-of-view shots are also extensively used to put the viewer in the shoes of the character. His films also tend to take place in everyday locale, such as Rear Window taking place in the courtyard of a small apartment complex. At the end of a Hitchcock film, moral order is restored and all conflicts are resolved. Between Rear Window and Arlington Road, there are a few similarities. The first similarity is the location in which the story ta...
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...ite a bit of atmosphere to the film. The use of quick cuts not only helps keep the film moving without getting “stale”, but also adds to the tension of the story. The brief abstract montages during the times of extreme panic or emotion also add a very nice artistic essence to the film without being too “cheesy.”
In conclusion, Rear Window and Arlington Road have very small similarities, but have much more in contrast to each other. Both films were very well done in their time, but Alfred Hitchcock and Mark Pellington are two very different directors with very different styles, and should not be compared to one another. The fact that the two films have a similar premise is not reason enough to conclude that Pellington was making a “Hitchcock thriller”, nor is it appropriate to compare a film and director to Hitchcock film simply for the fact that it is a thriller.
In the film Rear Window directed by Alfred Hitchcock, a significant shift of power is portrayed. This shift occurs between the protagonist of the film, L.B Jeffries and his romantic partner, Lisa Freemont. This shift also aids in outlining the main theme of the film, which is marriage, as all aspects of marriage are observed and taken into account by Jeffries. The change of dominance within Lisa and Jeffries relationship can be broken down into three stages, which develop and change throughout the film. At the beginning of the film Jeffries is shown to have the power within the relationship as he dictates the parameters of the relationship, however he is also intimidated by Lisa 's social standing. Towards the middle of the film the possession
Rear Window effectively demonstrates Hitchcock’s strong qualities as an auteur. The writer for Rear Window is not Hitchcock, and yet there are clearly many motifs and themes present which are well known for being used by Hitchcock. He is not merely following instructions of how to make the movie he is providing his own creative adjustments.
Alfred Hitchcock’s 1954 film Rear Window is truly a masterpiece, as it uses fascinating cinematic elements to carry the story and also convey the meaning of voyeurism. Throughout the film we are in one room, yet that does not limit the story. This causes the viewer to feel trapped, similar to the main character, while also adding suspense to the detective story. The opening scene itself, draws the viewer in. In just five minutes and 27 shots, the viewer is given an introduction to the main character, his lifestyle, his condition, and his neighborhood. The lighting, the costumes, and the set are all presented in a way to catch the viewers eye, compelling them to crave more. Combining vivid lighting, edgy cinematography, and unique set design, Rear Window, proves why Hitchcock is still remembered as one of the greatest and most influential directors of all time.
...ormation of novel to film, sees Hitchcock’s responsibility as auteur. Suggesting Hitchcock as ‘creator’, attributes to Vertigo’s “perfection” (Wood, p.129) as Wood argues. Stylistic features known classically to Alfred Hitchcock movies is also what defines Hitchcock as a classic auteur, his style generates a cinematic effect which mixes effectively with his use of suspense. In returning to Cook’s discussion, she references Andrew Sarris, who argues that the “history of American cinema could be written in terms of its great directors,” (Cook, p. 411) showing the legitimacy of authorship in popular American cinema. Ultimately Cook goes on to address the changes in authorship from the 1950’s until today, featuring developments in authorship within Cinema. Overall, both Cook and Wood presented a balanced discussion on the legitimacy of Alfred Hitchcock’s auteur status.
The women in both films gave the men something to look at. For example, in the opening scene of Rear Window, the audience sees Jefferies looking from his window over to Miss Torso who is dancing and stretching as she gets ready for her day. As in the film Disturbia, the audience sees Kale looking through
An inner courtyard becomes a large stage that serves the director to show a portrait of human relationships. Angles and perspectives put the audience in a place where it is not normally found. Hitchcock with his camera can get in someone's personal life and invade their privacy. With Rear Window it makes the public more aware of itself as an observer. This displaces and transforms the public into a player into the action since across his look, the observer assumes the responsibility of the characters and believes an experience different from any other film of their
All directors of major motion pictures have specific styles or signatures that they add in their work. Alfred Hitchcock, one of the greatest directors of all time, has a particularly unique style in the way he creates his films. Film analyzers classify his distinctive style as the “Alfred Hitchcock signature”. Hitchcock’s signatures vary from his cameo appearances to his portrayal of a specific character. Two perfect examples of how Hitchcock implements his infamous “signatures” are in the movies, A Shadow of a Doubt and Vertigo. In these movies, numerous examples show how Hitchcock exclusively develops his imagination in his films.
Psycho is an American horror film directed by Alfred Hitchcock in 1960 based on a 1959 novel with the same name. Alfred Hitchcock typically uses certain elements in almost all of his films. In Psycho the following elements appear; blonde woman, conversation that is not important to the story, alcohol, Hitchcock appearance, Mcguffin, pursuit, the camera looks around, a P.O.V., creating suspense by letting the audience in on a secret, mother figure, birds, stairs, and a narrow escape.
The film, Vertigo (1958) directed by Alfred Hitchcock, is classified as a genre combination of mystery, romance, suspense and thriller about psychological obsession and murder. Filmed on location in San Francisco and on the Paramount lot in Hollywood, California in 1957, the cultural features of the late 1950’s America were depicted in the films mise en scène by costume and set designs current for that time period. The film was produced at the end of the golden age of Hollywood when the studio system was still in place. At the time Vertigo was produced, Hollywood studios were still very much in control of film production and of actor’s contracts. Hitchcock’s groundbreaking cinematic language and camera techniques has had great impact on film and American popular culture and created a cult following of his films to this day.
There are four crucial scenes of this film in which Hitchcock shows a change in perspective and identity through the mise-en-scène. Hitchcock’s signature motifs, style, and themes are conveyed through the mise-en-scène.
In this essay I will be analysing the use of cinematography in two films, using Peeping Tom (1960) directed by Michael Powell and Psycho (1960) directed by Alfred Hitchcock. The reason why I choose these two films is because although they are from the same genre, and from the same period, the methods both films use are similar and at the same time completely different.
In the film Rear Window that was released in 1954 Alfred Hitchcock the director uses suspense through out the film to create a mystery. Hitchcock uses several techniques like symbolism, narratives, and voyeurism. Hitchcock main focus in the film was to create the entire film from a one-point vantage spot. The film depicts a vision in the audience head that is produced by visuals. How do gender roles. Having the film shown by the eyes of the protagonist Jefferies eyes the audience have a connection to the film and have one specific vocal point to focus through out the film.
Suspense is only one of Hitchcock’s many techniques and themes. His themes range from the obvious violence, to the depths of human interaction and sex. From Rear Window to Psycho, Hitchcock’s unique themes are present and evident. Rear Window starts with something we all do at times, which is nosing in and stalking on others business, and turns it into a mysterious investigation leaving the viewer second guessing their neighbors at home. Psycho on the other hand, drags
Perhaps no other film changed so drastically Hollywood's perception of the horror film as did PSYCHO. More surprising is the fact that this still unnerving horror classic was directed by Alfred Hitchcock, a filmmaker who never relied upon shock values until this film. Here Hitchcock indulged in nudity, bloodbaths, necrophilia, transvestism, schizophrenia, and a host of other taboos and got away with it, simply because he was Hitchcock.
Alfred Hitchcock is one of the most well known directors of all time bringing murder and mystery to a new light. His films, starting in 1925 with "The Pleasure Garden" and ending in 1976 with the film "Family Plot", set a precedent for all other directors in the film industry. Many story lines and techniques within the cinematography of Hitchcock are common standards for films of today.