Watching Rear Window: Notes Rear Windows has been variously categorized as a comedy-thriller, a romance, and a detective story. Within the first five minutes of the film, a contemporary eye can notice how the neighborhood is built upon a set, whether done intentionally or efficiently. The film Rear Window was added to the United States National Film Registry in the Library of Congress as being “culturally, historically, and aesthetically significant”. What is buried under the garden? Rear Window Photo: Ivan Knyazev Style & set design: Varvara Semenova Muah: Nastia Rada; Photographer assistant : Philipp Sakharov Models:Arseniy, Alexander K Read More I will be investigating why it is seen as such an aesthetically significant film even to this day. Windows are usually a metaphor for freedom, but in Hitchcock’s Rear Window (1954) they expose privacy, they symbolize confinement, and they allude to suspenseful plot devices. This powerful technique is expressed best when Thorwald notices Jeff watching him. When designing the set they had to create a sense of reality so according to a Paramount Advance Campaign documenter Hitchcock “dispatched four photographers to that colourful section of New York with instructions to shoot the village from all angles, in all weathers and under all lighting conditions from dawn to midnight.”. This relation matches with the possibility of Mrs. Thorwald being the buried object. The use of low key lighting, deepens the shadows and heightens the suspenseful feel of watching a murder, it allows the viewer to feel as if they were standing next to Jeff, seeing what he is seeing. Rear Window Photo: Ivan Knyazev Style & set design: Varvara Semenova Muah: Nastia Rada; Photographer assistant : Philipp Sakharov Models:Arseniy, Alexander K Read More According to Steven Jacobs a film historian, Hitchcock described the film’s plot as “the purest expression of a cinematic idea.” This could be interpreted to be a reference to the voyeuristic theme that encapsulates the film. Hitchcock had an infinite amount of ways to arrange his backyard neighborhood, and the way he chose was successfully original and engaging, allowing for the reliability of the story and the diegesis. In the opening sequence we see the rule of thirds within the fenestration slowly revealing the set beyond with the rise of the shading as if to open the show. In addition, the set h as 70 openings, e.g., windows and doors. Themes of voyeuristic ethics, feminism, and the dynamics of community living are examined. As well as the trademark Hitchcock cameos. �^���L�6)�J�"-ȔDk��p�Z�`Z�u ����S�)v�����B� �>��1�D�dZ��LwV`2����(X�x/����6v����=�ʡn+,�z�;3��U�:�_���=3J�ΕN$B�i�lZ�K6�������K ��I,�+����\�A8����� Zooming, pans and jump cutting allow the one set used in the film to create a dynamic understanding of the neighbourhood. The film Buried (2010) whose director cited Alfred as a inspiration, is also reminiscent of the directors works. If Alfred Hitchcock had used different lighting to film Rear Window, the feel of the movie would have been very different and not as interesting. I think these may be the MOST dramatic “before and a…, 7,351 Likes, 17 Comments - DOPE DECORS (@dopedecors) on Instagram: “Sign up for our Pre Launch Products! ‍ 1. Known for crafting beautifully appointed residences with timeless designs, with a reputation for excellence and is renowned for working to design and construct the home of your dreams. Jeff’s emotions are also present in the cinematography of his view of Lisa. Hitchcock has created such a global brand of his work that films which adapt his style are described as Hitchockian. Create a free website or blog at Change ), You are commenting using your Twitter account. However his work does seem to take on German Expressionism in the use of light. The Rear Window, directed by Alfred Hitchcock is a film about a man, encumbered by a wheelchair and broken leg, observing the practices of his neighbors. “Jeff” Jefferies a photographer laid-up with a broken leg in his Greenwich Village apartment. Hitchcock’s use of depth of field in these shots creates an representation of his feelings for her as everything else becomes insignificant. Alfred Hitchcock’s use of lighting in Rear Window was genius. Juhani Pallasmaa’s book The Architecture of Image: Existential Space in Cinema states that in Hitchcock’s films North by Northwest, Rear Window, Vertigo, Psycho and The Birds, for instance – buildings have a central role. The set up of Jeff’s apartment above the ground level allows for a more intensified climax, in which Jeff becomes a “hanging figure” (Morris), clinging on to his life before plunging down and breaking his one good leg. The main character, an accomplished photographer named Jeff, uses his camera to watch as he believes a murder is being covered up. Trump is Going to Lose the Vote. On a beautiful Seattle day I sat outside my house, notebook in hand, and began a rigorous and fast-paced note taking process on practice people use to get from their homes to class and how they do it. This is also reflected in the original trailers which are said to show a slow pan of the set with a voice-over and no actors. Aspects of this film survive today—not as Rear Window, but as key elements in other films. This was not a usual habit for Hollywood but allowed the sense of control in shots which Hitchcock demanded. The Director has often been referred to as Non-Architect because of the level of detail within his set design. “We’ve become a nation of peeping toms,” says Thelma Ritter to James Stewart in Alfred Hitchcock’s Rear Window (1954). Secondly D.W.Griffith is one of few people Hitchcock has given credit to influencing him. The scenes in which he looks at her give us the feeling of his strength of love for her as she is the only thing in focus in shot. While a stage designer, Jacobs argues, Hitchcock not only digested the Expressionist aesthetic, then popular in German cinema, but also experienced first hand the dynamics of the studio system and all the control implicit in it. Hitchcock carefully sets up the neighborhood to allow room for suspenseful camera movement and a mostly believable diegesis. Change ). Change ). Urban housing often encounters a collision, especially a collision of vision, which affects the privacy of the owner. This is a prime example of low key lighting. But as class time approached the amount of people exponentially increased so the careful statics I had been gathering became more of general estimate. This highlights Hitchcock’s priorities for this film. Where as Hitchcock said he created suspense by playing against reality. Jeff (James Stewart) is always watching others from his wheelchair. Create a free website or blog at *:JZjz���������� �� ? ( Log Out /  Stewart plays L.B. Will they ever discover any evidence? I also observed in interesting practice of smaller groups with people having one headphone in and the other out to encourage talking. Quite a powerful effect that these very big windows have - opening up the end of these buildings and spreading light out into the street. While I don’t think that observing a commute has vital global importance it called some important ideas to mind about the people I was observing. In Expressionism light is used to give depth to characters. Originally Published – Screen 16.3 Autumn 1975 pp. Hopefully this will change soon as I believe that all people should be able to have a stress free and inclusive commute. In comparison, as Jeff looks out his window, the lighting of the majority of the neighbor’s apartment’s as well as the courtyard is well lit and is defined as high key lighting. "(($#$% '+++,.3332-3333333333�� � �� � He even goes as far to say it is more central to the success of the film than James Stuart or Grace Kelly. Create a free website or blog at jz��2�{P��4D��%�r���Cb#�,�E:Y�����1a�:�O)j�B��ۂЊ��_���Jrl�n2���;4i]� ��b;�o�_���\$}�G�5�(C�}�(���"Lw�q~� endstream endobj 15 0 obj 394 endobj 12 0 obj << /Type /XObject /Subtype /Image /Name /im1 /Filter /DCTDecode /Width 256 /Height 171 /BitsPerComponent 8 /ColorSpace /DeviceRGB /Length 13 0 R >> stream “Jeff” Jefferies a photographer laid-up with a broken leg in his Greenwich Village apartment. Although we never move from one spot we are allowed escape by dollying into portals of sub-plots of the neighbours. The main character, an accomplished… And people who walked solo, headphones in more than not, with their heads trained to their phones. The set altogether is said to have cost 25% of the budget compared to 12% for the actors. Today I will be be presenting a critical view of Rear Window directed by Alfred Hitchcock in 1954. With intentionally limited lighting, perspective adds to both suspense and Hitchcock’s ingenuity. Fill in your details below or click an icon to log in: You are commenting using your account. One of the main lighting techniques is low key lighting, this leaves a majority of the background dark, you only see a portion of the actor, and it adds to the scene by making the character, in this case the murderer, look mysterious and suspicious. We watch in suspense as we hope that they uncover something worthwhile before Mr. Thorwald returns. For example firstly Disturbia (2007) is almost identical to Rear Window in its Voyeuristic themes and even marketing imagery – They may share the same themes of voyeurism and limited perspective however it has been described by Observer critic Philip French as “a limp teenage by-the-numbers version of Rear Window”. #BayWindow #BowWindow #BayWindowIdeas. Mulvey also describes the concept of The Gaze within Rear Window and how it characterises cinema as an instrument of male spectatorship.

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