Alfred Hitchcock's Rear Window and Mark Pellington's Arlington Road
argumentative Essay
1227 words
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 this essay, the author
- Compares alfred hitchcock's rear window and mark pellington’s arlington road. both have similar story lines, but different directing and storytelling styles.
- Compares rear window and arlington road, noting they have different story lines, different generations, and different directors, but neither is a remake of the other.
- Compares rear window's lb jeffries' paranoia with that of michael faraday, who is a college professor raising his son after his wife was killed.
- Compares how hitchcock's film, rear window, and arlington road differ in the way they are shot and recorded.
- Analyzes how pellington's film, arlington road, was stylized, using a variation of shots to give the viewer an all around view of what was important in the scene.
- Analyzes how faraday's son had a legitimate reason to put his life in danger while trying to prevent oliver lang’s plan.
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- The Modern Thrilleranalytical essayMark Pellington’s Arlington Road can be compared to Alfred Hitchcock’s Rear Window, when analyzed through thematic and stylistic ideas. A classic Hitchcock film demonstrates a blurred line of good and evil. This means that characters are not entirely evil or entirely good. That concept is used to induce more fear into the audience through a more realistic plot. Another famous element of a Hitchcock film is the use of an enigmatic villain. Hitchcock was one of the first directors to ...
In this essay, the author
- Compares alfred hitchcock's rear window and mark pellington’s arlington road. both films share classic and stylistic elements.
- Compares mark pellington's arlington road to alfred hitchcock’s rear window in terms of thematic and stylistic ideas.
- Analyzes how hitchcock creates the idea that one must demonstrate unethical behavior for a good cause to defeat the bigger evil in the story.
- Analyzes how lang fits the hitchcockian mold of a charismatic villain. both films demonstrate the idea that no place is safe.
- Analyzes how hitchcock's classic film, rear window, demonstrates stylistic elements that are lacking in pellington’s arlington road.
- Analyzes how mark pellington's arlington road and alfred hitchcock’s rear window differ in key elements of the film.
- Opines that pellington honored hitchcock's classic elements while adding his own style to the film.
1533 wordsRead More - Alfred Hitchcock's Psychoanalytical essayPsycho 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. These elements were presented all through-out the film starting with the blonde woman, Marion Crane.
In this essay, the author
- Describes psychopsycho as an american horror film directed by alfred hitchcock in 1960 based on a 1959 novel with the same name.
- Describes the elements that were presented throughout the film, starting with the blonde woman, marion crane, having a secret affair with sam loomis in phoenix, arizona.
- Analyzes how the camera assumes the role of marion as she steps out of the car and looks to see if there is anyone in the motel.
- Analyzes how marion finishes her meal and decides to shower where a shadowy figure appears and fatally stabs her.
- Narrates how sam and lila decide to investigate and to the motel. as sam distracts norman, the fourteenth element is a narrow escape which happens when sam seizes him before he can assault
575 wordsRead More - Common Themes and Elements in Psycho and The Birdsanalytical essayThe two films Psycho and The Birds, both directed by Alfred Hitchcock, share similar themes and elements. These recurring themes and elements are often prevalent in many of Hitchcock’s works. In Psycho and The Birds, Hitchcock uses thematic elements like the ideal blonde woman, “the motherly figure”, birds, and unusual factors that often leave the viewer thinking. Hitchcock’s works consist of melodramatic films, while also using pure cinema to help convey messages throughout the film.
In this essay, the author
- Compares alfred hitchcock's films psycho and the birds, which share similar themes and elements. the ideal blonde woman, the mother figure, birds, and unusual factors leave the viewer thinking.
- Analyzes how hitchcock's melodramatic films put marion crane and melanie daniels in extreme danger — they are posed as triggers for the action in the story.
- Analyzes how hitchcock contrasts the qualities of a motherly figure with intrusive, overbearing mothers in psycho and the birds.
- Analyzes how hitchcock indirectly uses birds to make a statement in psycho and the birds.
- Analyzes how hitchcock uses unusual twists to create a sense of suspense. in psycho, the main character marion is killed midway through the story.
- Explains that alfred hitchcock's unique sense of filmmaking and directing has allowed him to become a very famous and well-known film maker of his time.
656 wordsRead More - The Truman Show vs Rear Windowanalytical essayStam, Robert & Pearson, Robertson., ‘Hitchcock’s Rear Window: Refluxivity and the Critique of Voyeurism’ in Deutelbaum, Marshall & Poague, Leland A. ed., A Hitchcock Reader (John Wiley & Sons: 2009).
In this essay, the author
- Explains the meaning of voyeurism in film by discussing the truman show and rear window alongside established theoretical criticism.
- Analyzes how scopophilia is taking other people as objects, subjecting them to a controlling and curious gaze by allowing the spectator to look into the secret diegetic world.
- Analyzes how narcissism is the fascination with likeness and recognition (identification with ‘ego ideal’ subjectivity).
- Analyzes how peter weir's film, the truman show, utilises conventions of the voyeur and reflects a whole world of self-righteous endeavors in science, religion and the arts.
- Analyzes how the truman show engages with issues of voyeurism through the pleasure of looking by objectifying and empathising
- Analyzes how hitchcock uses camera angles from the protagonist's apartment, making the spectator an accomplice in his voyeuristic surveillance.
- Compares the truman show and rear window scopophilia. both are very different films but demonstrate various ways of understanding voyeurism by an advanced representation system.
- Explains that scopophilia arises from pleasure in using another person as an object of sexual stimulation through sight.
- Analyzes how mulvey suggests that scopophilia is mainly shown through pleasure on screen, such as in rear window, where jefferies watches miss torso dancing around her room.
- Argues that mulvey's theory of the voyeur and his pleasures is too narrow for present purposes. it ignores alternative models of spectatorship and gazing.
- Describes mulvey, laura, and penley, c, eds., feminism and film theory.
- Opines that the assassination of jesse james by the coward robert ford is directed by andrew dominik.
- Analyzes how the truman show 1998 and rear window 1954 show a range of voyeuristic elements, enforcing the spectator to observe the narrative.
- Describes sadar, ziauddin, sluyter, dean, stam, & pearson, robertson, hitchcock’s rear window: refluxivity and the critique of voyeurism.
1709 wordsRead More - Alfred Hitchcock Psychology Essayanalytical essayAlfred Hitchcock, the incredible director who brilliantly integrated sex, humor and suspense in his movies passed away over three decades ago. Despite the thirty years since his death, the legacy of films he made continues. His work has influenced many of the great directors today, and inspired the foundation of the spin off television series Bates Motel. To better interpret the films he created, it is essential to understand the creator of them and examine how his past life traumas and deep inner-thoughts in reality transpired through the fictitious worlds that he created on the big screen. Hitchcock, whether consciously or subconsciously, portrayed his frustrations, fears, and fantasies with the opposite sex through his leading actors and films. This ultimatley allows us to take a look at his past.
In this essay, the author
- Explains that alfred hitchcock's films have influenced many great directors today, and inspired the spin off television series bates motel.
- Opines that hitchcock developed detrimental anxiety from being locked up in a police cell at the tender age of five.
- Analyzes how hitchcock traces a life of obsession with unattainable beautiful women, sadistic cruelty, and inexplicable marital celibacy. such intense scenes were not common in this time.
- Analyzes how hitchcock uses the role played by his mother in his life and translates that relationship to several relationships between mother and son in the award winning film psycho.
- Analyzes how hitchcock molded the entire movie around the infamous shower scene in psycho. he was feeling rejection or disinterest with various leading ladies. in frenzy, he lets his inner demons loose.
- Analyzes hitchcock's strange fixation on his mother in the film vertigo starring jimmy stewart, which was labeled an "orphic tragedy."
- Analyzes how scottie is obsessed with the "perfect woman" and attempts to recreate his image of female sensuality. his desolate lifestyle as a child is likely connected to his infatuation.
- Analyzes how francois truffaut and tippi hendren discuss hitchcock's controlling tendencies and sexual frustrations in "the 39 steps and the lodger."
- Analyzes how hitchcock's paralyzing fear of police was evident in his films. he was so fearful that he never had a driver’s license.
- Opines that hitchcock's character of marnie is the ultimate personification of his life. he was a prisoner in his own mind and relieved his inner demons by creating films.
1806 wordsRead More - Analysis Of Rear Windowanalytical essayIn 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
In this essay, the author
- Analyzes how the shift of power between l.b. jeffries and his romantic partner, lisa freemont, aids in outlining the main theme of the film, which is marriage.
- Analyzes how the opening scene establishes jeffries' mindset through his reactions to lisa. the oppressive heat contributes to claustrophobia which mirrors his concept of marriage.
- Analyzes how the unequal balance of power is demonstrated when jeffries mentions that he doesn't want to be trapped by the institution of marriage. lisa is motivated to gain his affection by swooning over him.
- Analyzes how lisa intensifies her attempts to seduce jeffries, which sees the power shift from him as he is beginning to enjoy the attention.
- Analyzes how the shift of power continues as jeffries is helpless and panicked when lisa is in trouble. the relationship between the two changed after lisa was presented as the active partner.
- Analyzes how alfred hitchcock portrays the progressive shift of power between jeffries and lisa through three significant stages of the film.
1125 wordsRead More - Psycho, The Movieanalytical essayPerhaps 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.
In this essay, the author
- Analyzes how psycho changed hollywood's perception of the horror film as did psycho. alfred hitchcock indulged in nudity, bloodbaths, necrophilia, transvestism, schizophrenia, and a host of other taboos.
- Analyzes how the great director clouded his intent and motives by stating that the entire film was nothing more than one huge joke.
- Opines that psycho is hitchcock's most gruesome and dark film, inspired by the life of the demented, cannibalistic wisconsin killer ed gein.
- Analyzes how bernard herrmann's chilling score enhances the fright of the film.
- Analyzes how hitchcock shocked paramount when he demanded that the filmmaker film the sleazy, sensational novel that robert bloch based on the gein killings. the filmmaker kept after the studio's front office until the executives relented.
- Analyzes how hitchcock accepted the budget restrictions and went ahead with the film, utilizing television technical people, who were less expensive than standard hollywood crews.
- Describes how hitchcock met with joseph stefano after rejecting james cavanaugh's adaptation of the bloch novel.
- Analyzes how stefano told hitchcock that he couldn't work up sympathy for a peeping tom killer in his forties. the director suggested perkins get the lead role.
- Describes how hitchcock convinced paramount that his special editor, george tomasini, should be included in the production of psycho.
- Analyzes how the director's penchant for detail was in full force in the bates motel. the mansion cost only $15,000 to construct and technicians cannibalized several other stock buildings to keep costs down.
- Explains that perkins, then twenty-seven, was hired without the actor reading the script and was taken aboard because hitchcock thought him right for the role of norman bates and because he would cost little.
- Explains that hitchcock was interested in using shirley jones, but her salary would have been too high. instead, he chose leigh, who was more of a starlet.
- Analyzes how hitchcock achieves audience sympathy by showing perkins's norman as sensitive and oddly compelling, leading viewers to believe that his unseen mother is the culprit.
- Analyzes how hitchcock's attempt to set up viewers for the surprise ending backfired when he was deluged with wires and letters from actresses asking to be considered.
- Analyzes how hitchcock used a sunken-faced, ossified corpse for offbeat pranks on leigh, who became one of his favorite performers.
- Analyzes how the film's male lead, gavin, makes less of an impression on viewers than the shower scene. hitchcock considered stuart whitman, tom tryon, brian keith, cliff robertson, jack lord, robert loggia, and rod taylor for the role.
- Analyzes how hitchcock approved of every little detail in the famous shower scene and demonstrated every move the killer and victim were to make. perkins even showed him how he was to wrap the body
- Explains that perkins was not present for the filming of leigh's murder, but was in new york rehearsing for a play when the shower scene was filmed.
- Opines that hitchcock ordered this murder shown as a brutal thing, scribbling in his own hand for shot 116: 'the slashing'.
- Analyzes how hitchcock depicts the bloody realities of violent murder through lightning cuts between leigh and closeups of the knife striking her body (she is stabbed at least a dozen times).
- Analyzes how hitchcock uses inventive techniques to show the spray coming directly out of the shower nozzle.
- Analyzes how hitchcock shot the shower scene from a tower above the set, employing one cameraman. he had abandoned the use of technicolor, so as not to make the film more gory.
- Explains that leigh performed the rest of the shower scene herself, though she was concerned about displaying her bosom, even before technicians in a closed set. they researched various transparent garments worn by strippers but didn't come up with anything that would work.
- Narrates how a technician came up with an answer, flesh-colored moleskin, but during shooting hot water from the shower undermined this solution.
- Analyzes how hitchcock turned promotion minded with psycho, devising the entire publicity campaign for his gruesome masterpiece. he demanded that no moviegoer be seated during the showing of the film.
- Opines that hitchcock's response was to say that he had fun with the film.
- Explains that hitchcock's philosophy of the mystery-horror genre was to provide the public with beneficial shocks. the only way to remove the numbness and revive our moral equilibrium is through a movie.
- Analyzes how hitchcock's psycho broke all box-office records and made him a master of the modern horror film and fabulously wealthy.
2312 wordsRead More - Alfred Hitchcock's Notoriousanalytical essayThere 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, the author
- Analyzes how hitchcock's signature motifs, style, and themes are conveyed through the mise-en-scène.
- Analyzes hitchcock's technical competence in three key scenes that best exemplify his authorship.
- Analyzes hitchcock's technical competence and ability to connect his vision with the film’s subject matter.
- Analyzes how the camera assumes alicia's point-of-view upon discovering her husband and stepmother have poisoned her.
- Analyzes how devlin's self-reflectivity serves as a reflective moment for the audience.
- Analyzes how hitchcock's personality and style as a director are exhibited through motifs and themes within the mise-en-scène.
- Analyzes how hitchcock uses the typical hollywood "shot reverse shot" style of conversation during the party scene with devlin's character in the shadows.
- Analyzes how a character resembling the persona of hitchcock is seen to devlin's right in the scene. his cameo takes place during the party at alex’s mansion.
- Analyzes how the main characters' identities are constructed using hitchcock’s signature devices. alicia's identity throughout the film is always contingent upon the men in her life.
- Analyzes how alicia relies on devlin to make decisions for her, such as whether or not she should marry alex. in hitchcock films, the male star turns his blonde counterpart into his own desires.
- Analyzes how alex's identity is fickle, depending on whether he is around his mother and his nazi colleagues. his over-bearing mother meddles in his romantic affairs with alicia.
- Analyzes how the parallel between alicia's dependence on devlin and alex’s on his mother is prominent in the final scene.
1080 wordsRead More - Alfred Hitchcock's Rear Windowanalytical essayAs the credits roll we see the blinds of a three-pane window slowly being lifted up, after they finish the camera moves forward revealing to our gaze the reality on the other side of the open window. It faces the back of many other buildings, the courtyard they enclose, and a sliver view of the backstreet. More importantly, it faces many other windows just like it. Behind each one of those there are people, going about their day, doing mundane tasks, unaware of being observed. In his 1954 movie “Rear Window” Alfred Hitchcock invites us to engage in the guilt free observation of the lives of others. The main character, photographer L. B. Jefferies, is home stuck with a broken leg encased in a cast that goes all the way to his hip, providing the perfect excuse for him to amuse himself in this hot Manhattan summer by engaging in the seemly harmless act of looking into the many windows he can see from his back apartment. Casual, harmless, voyeurism has been part of the human behavior for ages but in the sixty years since the movie was released it has gained increasing traction. Reality television, Movies, TV shows, YouTube, blogging, Instagram and Facebook are examples of modern tools that allow us to engage in the observation of others while remaining protectively hidden from their returning gaze. In its essence the casual voyeuristic actions we engage in while observing others when using these new media tools follows the same pattern of behavior described in the movie, with the same positive and negative consequences. Casual voyeurism distinguishes itself from pathological voyeurism, which is characterized by a preference in obtaining sexual gratification only from spying others, by the removal of the sexual component from the equat...
In this essay, the author
- Analyzes how alfred hitchcock's "rear window" is an accurate portrayal of the reasons that make casual voyeurism an irresistible activity.
- Analyzes how voyeurism provides us with a safe-place of detachment through which we can vicariously experience things without physical involvement and without incurring in emotional risks.
- Analyzes how jefferies draws conclusions about his neighbors' lives by observing them and using the method of deduction.
- Analyzes how jefferies' girlfriend lisa and his nurse stella play important roles in analyzing the consequences of his voyeuristic behavior.
- Opines that people ought to get outside their own house and look in for a change.
- Analyzes how jefferies expiates some of our culpability for incurring in the same behavior. both women represent the voice of conscience telling us that there are moral issues with our seemingly innocent practices, to keep indulging in them we need to find a harmless explanation.
- Analyzes how jefferies is vindicated when both women become his devoted accomplices in spying one of his neighbors, mr. thorwald, who allegedly killed his sick nagging wife.
- Analyzes how thorwald's murder has the upside of bringing the moral guardians to jefferies' side, making his actions justifiable.
- Analyzes how jefferies' observations of his neighbors are relevant to how voyeurism impacts our lives.
- Analyzes how gartenberg, physically immobilized at home, turns from inward reflection to the world outside his window substituting a feeling of visual omnipotence for his physical and emotional deficiencies.
- Explains that seeing lisa interact with his fantasy world and show interest in what interested him, allows jefferies to accept her into his life. finding others that share our voyeuristic interests allows us to find communion with them and feel a sense of belonging.
- Explains that the obsession with observing others can also act as substitute for resolving our own hidden issues.
- Opines that nine out of ten people, if they see a woman across the courtyard undressing for bed, will stay and look; no one turns away and says, "it's none of my business."
- Opines that we are seized by the escapist possibilities offered by living the lives of others. it allows us to realize our fantasies, vicariously live through them, and runaway from the pressures of having to deal with our own realities.
- Argues that voyeurism can be a productive tool in dealing with our problems, but it needs to lead to enriched interactions with those that are part of our day-to-day activities.
- Cites carneiro, nancy greca de oliveira, andressa de barros cordeiro and denise dos santos campos.
- States that metzl, jonathan m., "voyeur nation? changing definitions of voyeurism, 1950–2004." harvard review psychiatry.
- Explains that reality-based television programming and the psychology of its appeal. media psychology 5 (2003): 303-330.
- Describes rowe's essay, "through the looking glass: reflexivity, reciprocality, and defenestration in hitchcock’s "rear window."
1921 wordsRead More - Alfred Hitchcock’s Vertigoanalytical essayThe 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.
In this essay, the author
- Analyzes the plot twisted story of vertigo, where the main character, "scottie", falls in love with madeline, the wife of a college friend gavin elster.
- Analyzes how scottie pursues judy and she allows him to transform her back into madeline who is actually one and the same person.
- Explains that kim novak's film career rose rapidly during the mid-1950s after signing to columbia and her casting was regarded as a major box office draw. after negotiations with harry cohn at columbia, it was agreed to star in the paramount film for $250,000.
- Explains that alfred hitchcock is considered one of the best directors of all time for his revolutionary techniques of cinematography.
- Analyzes how hitchcock's cult following fan base is always intrigued to figure out where his signature marks are made in each of his films. the murder plot in vertigo is not obvious to the audience until almost the very end of the film.
- Explains that alfred hitchcock's vertigo is a genre combination of mystery, romance, suspense and thriller about psychological obsession and murder.
- Analyzes the cultural features depicted in the film mise en scène by the clothing, hair and makeup artistry and use of set design.
1271 wordsRead More