In Alfred Hitchcock’s Rear Window the sequence being analyzed begins at 100:31 and it ends at 102:13, putting in consideration the mise-en-scene, cinematography, editing, and sound. A quick overview of the sequence: L.B Jefferies is confined to a wheelchair due to an accident, is looking out the window to his neighbor’s apartment across the courtyard. He suspects that the neighbor has committed murder. Jefferies’s girlfriend Lisa Fremont manages to get in the accused apartment in search of the wife’s wedding ring, to prove that Lars Thorwald indeed murdered his wife. Lisa is cornered in the apartment by Thorwald and tries to persuade him so that she can go on her merry way. Thorwald begins to manhandle her and she screams out for Jeff.
This scene begins with a side shot close up of L.B Jefferies (Jeff) looking away from the camera towards the window in a dimly lit apartment. Stella, the insurance company nurse is on his right side clutching onto his shoulder, only from her shoulder to her waist is seen. Her hand is clenched with anxiety close to her chest and the other on Jeff’s shoulder. Her hold tightens on Jeff’s shoulder, bunch his shirt up. Meanwhile, Jeff looks anxious as he looks towards Thorwald’s apartment.
The next shot exhibits Thorwald’s standing in a brightly lit apartment over Lisa who sits on a sofa. Lisa’s back is turned towards the window. Thorwald’s hand is stretched out demanding Lisa to return what belongs to him. The windows are open which allows Jeff and Stella to be able to hear what is going on in the apartment. Another reason, is because of the heat weave occurring at that time period.
The shots switches between Jeff’s apartment and Thorwald’s, showing the events that happens in Thorwald’s place and Jeff’s reactions to everything. The mise-en- scene in this sequence can be compared to an audience watching a film. In this sequence, Jeff and Stella are in a room with a soft key light, as if in a movie theater. In this case they are the audience. They look out of the window outside to Thorwald’s apartment, the window represents the screen. Meanwhile, Thorwald’s apartment is brightly lit, this acts as a film itself as the viewer looks at what is unfolding inside.
As the sequence begins to escalate, shifting from Jeff’s dimly lit apartment to Thorwald’s brightly lit and later pitch dark apartment, it as if each shot after shot, films the audience’s reaction to what is going on in the scene. Jeff being the audience his emotions are then felt by the true audience who would feel anxious as well.
The sequence shows a mixture of close-up shots, long shots and angled shots. It begins with a close-up of Jeff showing his reaction. It cuts to a long shot of Thorwald’s apartment. The camera is at a level and height as if looking out from Jeff’s apartment. The camera has little movement at the beginning of the scene.
In the, Extreme long shots it is unrestricted to Thorwald since he does not know who is ever at the door. When the...