Realism In "Rear Window" Essay

2740 words - 11 pages

One of the most crucial elements of Rear Window, and a very clever tactic used by Hitchcock, is realism. In other words, most if not all things that happen in this film, and everything that every character feels and emotes, is entirely plausible in real life - perhaps not witnessing a murder, but something equally shocking, such as spousal abuse is entirely possible. Because of this there is at least one thing or person that everybody can identify with, either with Jeff, Lisa, the neighbours, or any of the events that take place over the course of the film (i.e. a date gone bad, a pet run over, love, heartbreak, etc.). However, the audience identifies most with Jefferies, played by Jimmy Stewart. This was achieved through a wealth of POV and reaction shots. The audience is with Jefferies for the entire film; he persuades us to think what he thinks, and allowing us to see what he sees brings us that much closer to his world; we are enveloped by him. By allowing us to see what Jeff sees and to see how he reacts with what he is seeing, the audience gets a clear understanding of how he feels, and we are led to feel the same way. The theme of voyeurism plays one of the biggest parts in the film, and is the key to having an audience identify with what they see in this film. Because of this voyeurism, we are not only privy to Jefferies' life, but also the lives of his neighbours. Each of these neighbours has yet another life that we pry into using Jefferies' as our instrument, and each fit into a separate group of people with which any corresponding member of the audience can relate to (i.e. the young girls can identify with Miss Torso, the single middle-aged women with Miss Lonelyhearts, etc.). Rear Window is a film with a plethora of characters with which the audience can identify with, connecting with either their personalities or their experiences; we 'play the part' of all of the main characters, and practically every one of the neighbours in the complex, through the ingenious voyeurism throughout the film.The voyeurism is apparent even in the first few minutes of the film. As it is revealed, Jefferies is a photographer for a magazine. A photographer is the essence of a voyeur, as in the course of the job it is routine to peer into the life of something, whether it is a plant, an animal, or a person. However, since Jefferies' boss refuses to let him go back to work, he applies his work to his home-life, using his binoculars and camera to look in on the lives of his neighbours. It appears harmless at first, but soon devolves into a primal urge to see exactly what is going on in these people's houses. Thus is the basis for the film, and how we are kept by Jefferies' side the whole time. "One of the major, irresolvable issues that Hitchcock dramatizes in the film is the audience's innate voyeurism. We are implicated in Jeff's voyeurism because we, too, cannot refrain from spying on his neighbours; that is, we cannot distinguish whether we are watching...

Find Another Essay On Realism in "Rear Window"

Crime Fiction in Arthur Doyles’s "The Hounds of Baskerville" and Alfred Hitchcock´s "Rear Window"

1135 words - 5 pages Hitchcock’s own “Rear Window” exhibits a more liberal, postmodern approach that embeds itself in the contemporary consciousness due to the manipulations of its key conventional concerns, particularly the sleuth hero and the clue puzzle. In doing so, both texts maintain the core reflections of their societal context they were written in THE SLEUTH Conan Doyle’s detective Sherlock Holmes emerges from “The Hounds of Baskerville", through which the Holmesian

Cinema review in the form of newspaper article/essay, of Alfred Hitchcock's Rear Window, so personal opinion is included

680 words - 3 pages regularly starts before the 8:30pm film. Despite Rear Window being only the Hitchcock film I had seen, after Marnie, I thought I knew what to expect.The first characters we are introduced to are the tenants living in the block of apartments of Greenwich Village. Though they remain nameless except for labels such as "Miss Torso" and "Miss Lonely-hearts", these are people we recognise as part of our own lives. Then, there is L.B Jeffries, played by

An analysis of how narrative and genre are used to create meaning and generate audience response in the opening of "Rear Window" (Hitchcock, USA 1954)

1472 words - 6 pages The opening of "Rear Window" is very traditional, literally a curtain raiser for the film. The genre and narrative strands that are introduced, however, are not quite as clear as we might expect from our prior expectations of a Hitchcock thriller. This essay will examine how the opening introduces the audience to the world of the courtyard and the main characters in a way that suggests that the predominant genre of the film may be romantic

Rear Window Analysis

1547 words - 6 pages Postproduction Shot List with brief analysis Alfred Hitchcock's 'Rear Window' (1954). The story of a photojournalist with a broken leg, who begins to spy on his neighbours and becomes utterly convinced that one of them has committed a murder. I chose this movie because Hitchcock is an amazing and unique director who uses camera angles and sound to tell the story. There is no music in this movie (only the opening scene), but it's replaced by

Alfred Hitchcock's Rear Window and Mark Pellington's Arlington Road

1431 words - 6 pages 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

Cinema Theory

1103 words - 4 pages Potemkin Eisenstein wanted to address the situation with Russia and he created the situation in his film to incite a revolution by creating chaos. The realism school lead by André Bazin saw cinema as window. To Bazin a spectator would be apart of the film as more of a witness more than just a spectator. In the movie Rear Window Jefferies was witness to his neighbor wife murder while looking through window because while looking through a window

rear window text

1279 words - 6 pages criminals and love has no obstacles. A majority of films during the classical era pertained ideologies of heterosexual relationships and the oedipal trajectory. They are no different while decoding one of Alfred Hitchcock psychological thrillers, Rear Window. This essay will look into the film and take an oppositional stand point of the ideologies that are in the film. The film displays ideals that are rejected by today’s society, such as voyeurism, the

Comparing Arlington Road and Rear Window

1702 words - 7 pages “There is no terror in the bang, only in the anticipation of it” (Alfred Hitchcock). One of the greatest directors of all time, Alfred Hitchcock, sometimes known as the “master of suspense” has made many movies hindering on the idea of the bomb theory. This theory clarifies that a bomb going off out of nowhere is surprise while a bomb ticking to go off is suspense. One of Hitchcock’s films that demonstrates this suspense is Rear Window starring

Realistic and Magical Elements of A Very Old Man with Enormous Wings

1116 words - 4 pages Realistic and Magical Elements of A Very Old Man with Enormous Wings      "A Very Old Man with Enormous Wings" is a renowned short story written by Gabriel Garcia Marquez. It was published in 1955. Gabriel Garcia Marquez was born and spent his childhood in Colombia but has lived in Paris and Mexico. As for the work that made him famous, "A Very Old Man with Enormous Wings" is considered by most an archetype of Magical Realism. When


590 words - 2 pages come along way since the first corvette in 1953. It now has many options for how you want the exterior of your car to be. For example you can now choose if you want fog lamps, or/and body side moldings. Plus as a standard you get clear coat paint, corrosion proof body panels, halogen headlights, dual – electric - remote control- heated sport mirrors- for your mirrors, manual convertible top with heated, glass rear window, flush mounted glass, and

Alfred Hitchcock’s Rear Window

1174 words - 5 pages Alfred Hitchcock’s Rear Window In Alfred Hitchcock’s Rear Window, L.B. Jeffries, played by Jimmy Stewart, becomes completely obsessed with spending all of his waking hours watching his neighbors from his wheelchair. He even uses a camera to better his view and thus enhances his role as both a spectator and a voyeur. This contributes to the creation of a movie being played right outside Jeffries’ window. In this “movie within the movie” his

Similar Essays

"Rear Window" Relationships Analysis Of Relationships In Alfred Hitchcocks Film, "Rear Window"

1161 words - 5 pages "Rear Window" RelationshipsIn 1954 Alfred Hitchcock released "Rear Window," a film about a famous photographer stuck in a wheelchair due to an accident suffered while on the job. This photographer's name is L.B. Jefferies; he spends his days spying on his neighbors out of the rear window of his New York apartment. His only regular visitors are Stella, "a plain-talking insurance company nurse" (Rosenbaum) who gives Jeff her opinion whether he

The Narrative Techniques Used By Hitchcock In Rear Window

1348 words - 5 pages The Narrative Techniques Used by Hitchcock in Rear Window L.B. Jeffries is a high-class magazine photographer for what seems to be a worldwide publication. In Alfred Hitchcock's 'Rear Window', he is a temporarily wheelchair-bound man and his voyeuristic side appears later on in the film. 'Rear Window' depicts a 20th century New York in which fraudsters, murderers and salesmen all live alongside each other. The story

The Dynamics In Alfred Hitchcock's Rear Window And Psycho

706 words - 3 pages films can still hold up against today's incredibly high-budget Hollywood movies.A main theme in Rear Window is voyeurism, exhibited by Jimmy Stewart's character Jeff Jeffries. The same theme is also present in Psycho with Anthony Perkin's character Norman Bates, but, unlike Rear Window, Psycho doesn't use it as the backbone of the plot. Reasons for the behavior differ in the films as well. Jeff Jeffries is confined in his apartment because of his

Emotional And Physical Isolation In Housekeeping And Rear Window

2817 words - 12 pages Alfred Hitchcock’s Rear Window and Marilynne Robinson’s Housekeeping both demonstrate isolation through interaction between neighbors, dialogue, setting or mise-en-scene, framing, close-ups, and camera cuts. People can be close to one another in a physical sense, but, on a deeper level, they are disconnected. They may interact and it will only be in passing. While the novel and film both demonstrate isolation, their methods in doing so differ