Films are able to create expression differently depending on countless factors. Two large factors that differentiate how Sedminkrásky (Daisies) and Rear Window present each respective storylines are the style of the movies and who directed them. Considering the specifics of both Rear Window and Daisies, a comparison of the two can then be interpreted to gain a greater understanding of how the style and direction can create almost opposite outcomes in a film.
Rear Window Overview
Rear Window is a 1954 American thriller directed by Alfread Hitchcock. The film takes place entirely in L.B. Jefferies (played by James Stewart) apartment looking out his window at his neighbors. Jefferies is confined to his apartment throughout the film due to an
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Looking into the windows in tern allows him to look into their personal lives. Jefferies girlfriend and nurse are also involved in the film within the apartment from his view. One night, Jefferies hears a woman screaming from one of the apartments. He sees his neighbor, Lars Thorwald, who is a traveling salesman, continually leaving and coming back to his apartment carrying his suitcase. The next morning Thorwalds wife is no where to be found while he is cleaning a saw and knife and later ties up a large trunk and has it taken away. All signs point to Thorwald killing his wife according to Jefferies. Later on, a woman’s dog is found dead in the courtyard and causes commotion, while all the other neighbors are looking with concern, Thorwald doesn’t even seem interested. Jefferies girlfriend, Lisa, then climbs into Thorwalds …show more content…
Scopophilia essentially becomes the main plot idea of this film with Jefferies starting off looking at his neighbors out of curiosity and becomes pleased with it as the film goes on. Voyeurisitc themes can also be seen because the neighbors do not know he is looking at them, even at the end of the film, when Thorwald sees Jefferies looking at Lisa and insists that the lights be turned off so that he cannot see him watching from afar. Lisa can also represent Muvley’s idea that women in film are used for imagery since Jefferies looks at her through the lens, being forced to focus on only parts of her in view. Jefferies appears to get pleasure from looking at Lisa in this way. He is in control of what parts of being shown through the scope. Mulvey mentions Rear Window in her essay in comparison with these ideas by stating that “the look is central to the plot, oscillating between voyeurism and fetishistic fascination.” Another point Mulvey compares to Hitchcock, especially Rear Window, is that the view is in control by the male protagonist. Jefferies is always the spectator in the film, rather it be in his career as a photojournalist, or watching his neighbors through his window, yet he is still the hero by calling the police when Lisa is in
Films are designed for numerous purposes, some entertain, frighten, enlighten, educate, inspire, and most make us think about the world we live in. This paper will be focused on the cinematic interpretation of the film "Stepping Razor Red X", the Peter Tosh Story. The makers of a film from the writer, director, cinematographer and the art director, design, and conceptualize what they want the viewer to see.
Rear Window directed by Alfred Hitchcock was an exceptional movie with a jaw- dropping 8.6 rating on IMDb’s website. The movie is about L. B. Jefferies (protagonist), who is a well-known photographer in a wheelchair.The lack of entertainment and extreme boredom caused Jeff (Jefferies) to stare out the rear window day and night. He eyed his neighbors through this window 24/7 and revolved his wheelchair season around their personal lives. As the movie goes on Jeff feels as if Lars Thorwald (antagonist) has murdered his sick wife. He knew they were an unhappy married couple already and had some unmistakable clues. In this series of events Jeff’s girlfriend who he thought to be too perfect for him and epicene turns out be a risk-taker and brave.
Rear Window effectively demonstrates Hitchcock’s strong qualities as an author. 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 on how to make the movie; he is providing his own creative adjustments. Now we will address a few of these from the film. First, drawing parallels between characters with a difference, usually a negative one, is a repeated concept in Hitchcock films.
Rear Window and the works of Hopper are both required with confinement. Disregarding its blended utilize land setting, Early Sunday Morning does not pass on a warm, fluffy feeling of group. In like manner, in Rear Window, the inhabitants of the lofts are confined from each other. Apartment Houses is additionally for the most part viewed as another antecedent to Rear Window. Large portions of Hopper's night settings portray scenes from New York City and Night Windows is no special case. The lady in this work of art is totally unconscious of the stage she is on and the front line situate its eyewitness involves. Its semi-sexual story is resounded in Rear Window, and it catches strikingly the experience of living in New York: the a large number
Sex is evident in the very first scene of Psycho, when Marion Crane and Sam Loomis are wrapping up an unusual sexual lunch break. Sex only appears in the beginning of the film but the theme draws the audience into the character of Marion Crane and her intentions. The sex comes first and then the violence follows later on in the film. But the theme of sex is primarily used to characterize Marion’s character. Sex during her lunch break is not something that most woman do. On the other hand, Rear Window’s sex theme seems to only be present in L.B. Jefferies relationship with Lisa Carol Fremont as they have numerous kissing scenes and sexual references. But the theme can also be seen in the neighbors. There is clear tension in Lars Thorwald relationship with his wife. Although, it is unclear, it takes place in the bedroom of their apartment. The violence soon follows the tension and L.B. Jefferies gets
Beginning the mid 1920s, Hollywood’s ostensibly all-powerful film studios controlled the American film industry, creating a period of film history now recognized as “Classical Hollywood”. Distinguished by a practical, workmanlike, “invisible” method of filmmaking- whose purpose was to demand as little attention to the camera as possible, Classical Hollywood cinema supported undeviating storylines (with the occasional flashback being an exception), an observance of a the three act structure, frontality, and visibly identified goals for the “hero” to work toward and well-defined conflict/story resolution, most commonly illustrated with the employment of the “happy ending”. Studios understood precisely what an audience desired, and accommodated their wants and needs, resulting in films that were generally all the same, starring similar (sometimes the same) actors, crafted in a similar manner. It became the principal style throughout the western world against which all other styles were judged. While there have been some deviations and experiments with the format in the past 50 plus ye...
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
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
As 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...
Stam, 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).
The director Roman Polanski likes to make a lot of scenes in his movies through doorways and windows, and the reason of that is simply because in that way, he creates a bigger sympathy with the audience, they get to see the films from the main characters o...
The film Wendy and Lucy, directed by Kelly Reichardt, presents a sparse narrative. The film has been criticised for its lack of background story, and as a short film, much of the story is left to the viewer to infer from what is presented in the plot. However, Wendy and Lucy is able to depict the intimate relationship between Wendy and her dog as well as reflecting more broadly on the everyday, and commenting on the current economic state of the film’s setting in America. This essay will examine how film form contributes to the viewer’s awareness of the story in Wendy and Lucy and allows a deeper understanding of the themes presented. The aspects of mise-en-scene, shot and editing and sound in the film will be explored.
This left Hitchcock films as some of her mother’s favorites. Pemberton, went to a Hitchcock festival as an adult, this time watching Rear Window, which she had not seen since she was a child with an objective examination, she found a scene that would shift both her and her mother’s perspective of this movie. As Jimmy Stewart’s character, Jefferies, realizes he is in danger, telephones his friend Wendell Corey, who was not at home, but he spoke with the baby-sitter who did not appear on screen, but was portrayed in a voice that would convey imagery of a “familiar black image.” Asking the inspiration for this essay “Do he have your number, Mr.
From the opening seconds, when Alfred Hitchcock’s camera closes in from afar on a private lunchtime rendezvous, Psycho makes clear that its focus is on the secretive and reserved. This scandalous scene is the first of many that initiates the viewer to the notion that beneath the surface lays a distorted and crudely reticent domain. Hitchcock seems determined to trick the audience, delightfully subverting character tropes and conventional setting as the plot descends further into darkness. This high-strung thriller may at first glance appear nothing more than a simple murder mystery, but on closer examination the film makes an argument for a lurking, sinister omnipresence. Psycho reveals that there is a twisted world hidden beneath everyday
Secret Window, released in 2004, is a film based on Stephen King's novel Secret Window, Secret Garden. The film follows increasingly disturbing events around a character called Mort Rainey, who is portrayed by Johnny Depp & John Turturro. This character appears to suffer from Dissociative Identity Disorder (DID). Rainey is a middle-aged novelist recently estranged from his wife; as a result, he has isolated himself at his cottage. As the story progresses, it becomes clear that Rainey has another personality called Shooter, and Rainey himself comes to the realisation that Shooter is an identity that he has created to protect himself from the pain of his marital breakdown. Shooter takes over Rainey’s mind one last time to murder his wife and the man she cheated with. After his vengeance is carried out, Rainey seems at ease and jovial, and as the film ends, Rainey seems to be in a positive emotional state. This is an ambiguous ending that leaves the viewer unsure of Rainey’s mental health status.