Everybody knows Alfred Hitchcock is the master of suspense and is known for inciting fear in the hearts of his audience. His multiple, fast cuts directs his audience to what he wants them to see and feel. Close-ups of the actors faces clearly shows what the characters are feeling and forces the audience to feel the same emotions. With all his expert directing skills, is there any meaning behind what he chooses to portray in his films or is it all for show? Could there be a deeper meaning to his films
In this essay, I shall try to illustrate whether analysing the movie Rear Window as a classical example of the Freudian concept of voyeurism, is appropriate. Voyeurism is defined in The Penguin dictionary of psychology as: “Voyeurism: characterized by a pattern of sexual behaviour in which one’s preferred means of sexual arousal is the clandestine observing of others when they are disrobing, nude or actually engaged in sexual activity. Arousal is dependent upon the observed person(s) not being aware
& Mulholland Drive The rudimentary form of narrative storytelling lends itself towards application to an individual subject’s life story due to the correspondence of a narrative’s finite bounds and the subject’s mortality. Vertigo (dir. Alfred Hitchcock, 1958), The Tenant (dir. Roman Polanski, 1976), and Mulholland Drive (dir. David Lynch, 2001) are consistent with this idea because their narratives follow an individual human subject from an anecdotally significant beginning to their death
William Faulkner is widely considered to be one of the great American authors of the twentieth century. Although his greatest works are identified with a particular region and time (Mississippi in the late nineteenth and early twentieth centuries), the themes he explores are universal. He was also an extremely accomplished writer in a technical sense. Novels such as The Sound and the Fury and Absalom, Absalom! Feature bold experimentation with shifts in time and narrative. Several of his short stories