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Concept of voyeurism
Hitchcocks portrayal of women
Alfred hitchcock treatment of women
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Rear Window (1954), a picture on vouyerism, Hitchcock positions the film in the American cultural context of the postwar masculinity, class struggle and gender roles. Lisa the high-society model is pitted against the maternal nurse Stella (Thelma Ritter) from the working class world. Lisa moulds herself to suit Jeffries’ desire, dress and behaves accordingly. She is an active woman who later becomes a sleuth and unintensionally helps Thorwald to find Jeffries’ postion which leads to a fight and later a broken leg. Lisa is actually a double threat to Jeffries masculinity both in her ultrafeminine costume and her guise as an action woman. Both paralyses Jeffries both physically and mentally with anxiety about his masculinity. The film
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.
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
Rowe, Lawrence. "Through the Looking Glass: Reflexivity, Reciprocality, and Defenestration in Hitchcock's"Rear Window"." College Literature 35.1 (2008): 16-37.
For centuries, the ideal masculinity has been seen as the provider, the macho man, the cowboy and the emotional rock, but new representations of manliness in the media have been challenging this idea (Watson 2015, p. 270). Within these new depictions, there lies a hierarchy where one form of masculinity is more accepted than the rest (Kluch 2015). Macho masculinity has been seen as being dominant in the hierarchy for generations, however, in recent years, there have been an influx of new representations of masculinity that disrupt traditional hierarchal ideas. The masculinity of the twenty first century includes emotions, sensitivity, discipline, and intelligence. These new aspects of the hierarchy have been introduced by movies such as Brokeback Mountain, 22 Jump Street, The
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 major theme of the Rear Window film is the theme of obsession and human curiosity. The notion of Voyeurism is used to signify the name of the game that is played in the film. In general, I would characterize the film as truly brilliant and suspenseful. In fact, the film has all the chances to be regarded as one of the best films ever filmed by Alfred Hitchcock. The film is known to possess suspense as well as a humor and specific look at the relationships.
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.
“The Other Wes Moore” By Wes Moore, reveals how two men can develop differently in the same social environment, and yet and have different intrapersonal views. The two men grew up in the same impoverished city, yet both have different experiences and views of what it means to be a man. The other Wes Moore, living his whole life in a poverty-stricken society, believes that being a man means to be powerful and unforgiving. The author, Wes Moore, living in two different worlds, views himself as a man when he becomes an exceptional leader and responsible for others lives. These concepts both tie into the constructs of masculinity in the United States where men are supposed to be protectors of society. The two Wes’ notions of manhood derive from
In the movie Rear Window by Alfred Hitchcock (1954), there were changes in the main characters’ relationship. In the earlier part, Jeff seems to not have experience with society outside of his immediate apartment or world. By the time Lisa shows up for the date, the writing, direction, and acting shows that these two characters genuinely get along. Later that time, Lisa starts joining Jeff on an adventure to solve a crime, following him in a heavy and risky situation. She proves to him that she is worthy of him once she is interested in due to what was going on outside with his neighbor. Therefore Hitchcock first presents a relationship in crisis, then turns it upside down. What
With voyeurism comes consequences. Just ask L.B. Jefferies, he’d know all about it. Alfred Hitchcock’s 1954 movie Rear Window depicts the struggles of photographer L.B. Jefferies as he’s forced to stay home in a wheelchair due to a leg injury. To deal with his frustration at being stuck home he takes to spying on his neighbors. With the use of techniques such as medium shots, close-up shots, pan shots and framing the opening scene in Rear Window evokes a strong sense of both voyeurism and isolation.
Released in 1976, the screenplay is set in a post-Vietnam War America. Robert DiNiro, the main character in the movie by the name of Travis Bickle, claims to be an ex marine and a Vietnam War veteran who drives a taxi at night in NYC. In his screenplay, the Taxi Driver, Martin Scoses suggests Travis Bickle a main character who undertakes the role of a cowboy, to be someone who embodies the masculine and violent traits in pre counter culture America, but also someone who represents elements of western mythology. In order to support his argument Scoses uses Travis need to fulfill his masculine cowboy persona, by making him the hero of his own life.
...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.
Eugene August describes Miller’s ‘Death of a Salesman’ as a profoundly male tragedy, one in which its protagonist is destroyed by a debilitating concept of masculinity . Masculinity is of course an ambiguous term and araises a gamut of views. Willy Loman, a failed salesman, embodies the deluded values and aspirations that could be said to originate from the American Dream, which infiltrates every aspect of his life. Whilst Willy is influenced by material and consumerist success, reflecting the play’s setting in the increasingly urbanized, cosmopolitan New York, Stanley Kowalski in ‘A Streetcar Named Desire’ defends imperilled masculinity in his less socially progressive community of Elysian Fields by resorting to primitive male behaviour in order to assert his dominance and territory. Despite the playwrights’ portrayals of masculinity, both suggest that male behaviour is shaped by their society’s concept of masculinity in order to survive.
In the first scene of Lorraine Hansberry’s play, Walter attempts to become “the man” he wants, not the one his family needs. Walter emphasizes his masculinity, through his words, by repeatedly demanding people wake up early. “Now what is that boy…he just going to have to get up earlier. I can’t be late on the account of him” (Hansberry 1783). However, this attempt backfires as his Ruth confidently stands up against him and assertively defends their son from Walter’s accusations. “Oh no he ain’t going to be getting up no earlier…it’s not his fault he can’t get to bed [it’s you and your friends fault] (Hansberry 1783). Walter is left feeling emasculated by his wife, so he redirects his demands to a seemingly easier target –his sister. But instead
In Tennessee Williams’ A Street Car Named Desire, the reader is shown human nature through desire and the power desire has over the plays characters. Stanley Kowalski, the plays antagonist, is used to demonstrate animalistic masculinity with vary basic human urges. He uses his unrefined sexuality and desire as power over those around him as the reader sees with his hold over Stella and ultimately over Blanche. Stanley’s character is important to the play as he is used to level the playing field with Blanche and bring her back into reality. Stanley Kowalski, however a controversial character, is important to the plays demonstration that desire, power and fantasy are all inter connected and if not controlled can lead to destruction and turmoil.