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Ariel Chen (ac47386) RTF 314 Extra Credit 3/26/13 Rear Window Response Most of Hitchcocks films seem

to fall under the broad categories of horror/thriller/suspense, the sort of film Ive never felt much strong affinity towards. Perhaps Im just an extremely faint -hearted individual. After a brief look at the premise of each of the movie choices, Rear Window interested me the most, with voyeurism the key word that seemingly crops up the most in regard to this film. (This is not to suggest I have voyeuristic tendenciesit probably is the opposite of that, in fact, as I am generally hyper-aware and self-conscious about intruding upon the privacy of others, whether they are mindful of it or not. It isnt even a matter of me striving to be morally upright; the act simply makes me uncomfortable. So the subject matter intrigued me.) All in all, I greatly enjoyed Rear Window. Far more than I thought I would when I began watching. Hitchcocks reputation is definitely deserved, as he uses a great deal of unusual techniques and finesse to tell a story that draws you on throughout, despite its simplicity. The opening scenes clearly and succinctly fills the audience in on Jeffries situation through panning through telling objects (his smashed camera, for example) and framed photographs, as well as through a phone call from Jeffries boss. Then we are shown various neighbors whom Jeff observes, and we see from his point of view. We are shown precisely what Jeff sees, from the same distance and with the same amount of sound he is able to hear from his window. Most of the movie is revealed to us in this way; we are very rarely shown anything Jeff is not able to notice. (There is one exception to this that greatly stood out to me: a extremely brief scene featuring Thorwald where it is bookended by shots of Jeff asleep.) I was particularly struck in the beginning by the conversation between Jeff and his nurse, Stella. The dialogue was quick, snappy, and clever, but the subject matter was also of interest: Jeff and Stella discuss Lisa and why Jeff is reluctant to marry her in the future. The differences between men and women are very often highlighted and focused on in Hitchcocks films. Jeff is over-analytical and puts great stock in intellect and logic, and tries to apply to his and Lisas relationship. Stella advises him against it. Marriage is generally painted in a negative light in this film as a whole, as marital problems are what presumably led Thorwald to murder his wife, and the newly married couple go from being passionately in love to bickering at the closing of the film. Rather strikingly in this film, the man is generally rather passive, content to let things stay the way they are (Jeff even outright states his desire for things to remain like the status quo in regards to his relationship) and to observe happenings while the woman is generally proactive, both in terms of thinking of the future and investigating the suspected crime. Lisa Fremont is an interesting character who is likely of higher social class than Jeff and better off financially and thoroughly devoted to him. Even though she is at first wary of Jeff s spying, she gets sucked into his obsession as well and actively goes out to try to find the truth. However, the story still firmly revolves around the man, as the final climactic confrontation is between Mr. Thorwald and Jeff, who is confined to his chair. Gender roles are still firmly in place, with women being shown as care-givers and a big fuss made over womens intuition. Stella repeatedly chides Jeff for his over-analyzing, and she and Lisa sort of become extensions of Jeff that are able to run around and help him with solving the mystery he has become obsessive about. An important piece to the mystery was the supposed importance women placed on beauty and possessions (Mrs. Thorwald leaving her handbag). Women played important parts in the film but gender roles of society were enforced.

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