Lisa persistently represents herself as an independent, successful woman throughout the film. Howe states that “Lisa demonstrates her ability to assert her own independent judgment” (24). Jeff makes up these absurd stories about the lives of the neighbors that he only views through his window. He relentlessly makes unnecessary judgments about the people that he views. Jeff’s point of view on his neighbor’s lives is only made by sight. He rarely hears what these people are actually saying or going through. However, Lisa seems to be the voice of reason in the relationship. After Jeff shares his outrageous story about the murder of Mrs. Thorwald, Lisa is quick to shut him down. Lisa says, “A murderer would never parade his crime in front of an open window.” She does not believe his perspective on other’s situations because she is not so quick to judge others. It seems that Lisa is more logical and generous in the …show more content…
Sue Brower touches on this idea in her article, “Channeling Rear Window.” Brower states that “Jeff’s new disability makes him a domesticated spectator” (94). As Jeff is stuck in the wheelchair, he is watching everyone else’s lives through the window. The window symbolizes Jeff visualizing what he wants for himself. In the way Jeff views the highly sexualized Miss Torso through the window, Hitchcock represents the male character staring voyeuristically at his neighbors. He is fantasizing, in a way, the life he cannot live. George E. Toles’ “Alfred Hitchcock’s Rear Window as Critical Allegory” also touches on the idea of “voyeuristic involvement in other lives” (226). Both women characters in the film, Lisa and Miss Torso, are sexualized by Jeff. The way these two women are portrayed causes Hitchcock’s true intentions to be questionable. Does Hitchcock only see women as sex symbols, or can they have their own personalities and careers just as the male characters
In this story Jeffrey shows that he is stubborn, helpful, and independent through his life experiences. Jeffrey’s parents were killed when a train went off its tracks. So he was an orphan and his Aunt and Uncle were there to take him in for eight years. Then he had enough with the two of them not talking to each other and lives on his own for a year. Until he found the Beales and they helped him feel welcome for sometime until he moved out and moved on again. Jeffrey is the main character written by Jerry Spinelli shows that Jeffrey can't really figure where he belongs in the
Jamal states: “I was wondering if I could bring you more of my stuff. Or maybe I could write something else.” Forrester responds: “How about 5,000 words on why you should stay out of my house!” (IMDb, 2017) This is the first impression Jamal, a black sixteen year old, has of The Window, an old white man who appears to watch people outside his window.
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
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
Hazel overanalyzes everything adults say and takes things too personal. As Hazel is in the car with her Granddaddy, her uncle Hunca Bubba, and her younger brother Baby Jason, Hunca Bubba asks to be called by his full name, Jefferson Winston Vale. Hazel asks Hunca Bubba if he will marry his girlfriend. When he confirms that he will, she accuses him of lying, since he had once promised to marry her. Although this promise was a joke, Hazel takes it seriously. Hunca Bubba finds the misunderstanding to be small, however, Hazel is devastated and hur...
Within Tennessee Williams's story about love and abuse within marriage and challenging familial ties, there lie three very different characters that all see the world in vastly different ways. These members of a family that operate completely outside of our generation’s norms, are constantly unsure of themselves and their station within the binary not only of their familial unit, but within the gender binary that is established for them to follow. Throughout the story of the strange family, each character goes through a different arch that changes them irrevocably whether it is able to be perceived or not by those around them. The only male, Stanley is initially the macho force in the home who controls everything without question. He has no consequences for his actions against his wife and is never held accountable for treating the people around him poorly; this lasts until Blanche arrives. Blanche is an outwardly demure, but spirited young woman who after experiencing untold misfortune breaks mentally and decides to no longer care what others may think of her. She lives her life lavishly and foolishly by having dalliances with younger or richer men who shower her with gifts and attention to get sex from her all too willing form. Her effect on Stanley is one of temptation and challenge; she continually tries to convince her sister that she is too good for the man and in turn fosters a resentment for her in him. Stella acts as the antithesis of Stanley and Blanche’s extreme personalities. She is innocence and purity where they are the darkness that threatens to overtake her life. Throughout, Stella is a pawn that they both try to use against the other to no real avail as she is determined to make the best choice for herself. In th...
With nobody but herself at home, Ann strongly desires to talk to someone, and that someone who arrives at her house is Steven. Ann who has been feeling anxious and helpless while isolated suddenly feels relief when Steven comes as shown, “-and suddenly at the assurance of his touch and voice the fear that had been gripping her gave way to an hysteria of relief.” Steven helps comfort Ann, while Ann is being cautious of herself. She knows that Steven is enticing, but will not give in to him despite how attractive she finds him. Steven is the complete opposite of John and Ann compares John to Steven multiple times, “Steven’s smile, and therefore difficult to reprove. It lit up his lean, still-boyish face with a peculiar kind of arrogance: features and smile that were different from John’s.” and even favours Steven more than her husband. Ann is used to seeing John’s features but not Steven’s. This excites Ann and prompts her to develop feelings that are of a high school girls’, “She didn’t understand, but she knew. The texture of the moment was satisfyingly dreamlike.” It takes Ann a moment to realize that her object of temptation is right in front of her, and it does not take long for her to take the opportunity to ease her boredom and isolation through her upcoming
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.
...m plays a considerable role in this film. Jeffries, the films protagonist is bound to his apartment, so for entertainment he watches people through his window without them knowing. From the very beginning these characters seem to so interesting, so no wonder Jeffries decides to watch them. While watching the film, we become witnesses of their private lives, making us voyeurists too. In this film windows are not used in a traditional sense, they expose people, they symbolize confinement, and they allude to suspenseful plot devices. Hitchcock’s aesthetic configuration of the film manipulates the audience into questioning several aspects of the film and in life in general. Hitchcock’s originality in Rear Window was not only successful during the golden age of Hollywood, but it continues to be creatively adapted and consistently influential in today’s cinema as well.
There have been many contributors when it came to tackling anti-social behaviour and preventing crime however, the most influential contributors are Wilson and Kelling. They came up with the theory of broken window which will be further explain in this essay. This essay will outline the broken window theory, as well as explain what is meant by broken window. Finally it will give examples that exemplify the broken window theory. (Maguire, Morgan and Reiner, 2012)
Hitchcock has a way of throwing clues in the face of the spectator, yet still allows some room for the spectator to find their own less obvious details. In the same museum scene, Hitchcock shows the viewer exactly what he wants them to see. In a sense, Hitchcock can be very manipulative with the camera. The audience sees the picture containing the women with a curl in her hair holding flowers, and then the direct connection is made by the camera, by showing the curl in Madeline’s hair, and the flowers sitting next to her. The spectator is led to believe that they have solved the mystery and she is truly possessed by the women in the picture. However, Hitchcock does this on purpose to lead the audience away from the truth that she is only acting. It is for these reasons that Hitchcock’s work at an auteur adds a level of depth and intrigue.
depression. Lacking the parental figure, Jeffrey grow more and more isolated, missing common social skills. As a coping
For an example in one particular scene, Tiffany has an episode of irritability towards her sister with assumption that her sister hates her; which included loud inappropriate comments and an abrupt exit. There were also symptoms shown such as an excess desire for sex. Tiffany casually talks about all the men she has slept with since her husband’s death, including “the whole office” at her previous job. This is a way she has learned how to deal with her depression.
Alfred 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.
However, even though a feminist view helps to encourage certain views in the text, it can be restrictive. This is because it does not allow the reader to discover other potential meanings such as a Marxist or a Psychoanalytical perceptive. For instance, in Salome a Marxist critic may be interested in the sexual power that the woman misuses. In addition, a psychoanalytic perspective allows us to see that it is the unconscious mind that is driving Salome to do such acts. This idea is reinforced through the Lois Tysons idea that “we unconsciously behave in ways that allow us to “play out”…our conflicted feelings about the painful experiences we repress”.