Rear Window Analysis free essay sample

Analysis Hitchcocks fans and film scholars have taken particular interest in the way the relationship between Jeff and Lisa can be compared to the lives of the neighbors they are spying upon. The film invites speculation as to which of these paths Jeff and Lisa will follow. Many of these points are considered in Tania Modleskis feminist theory book, The Women Who Knew Too Much:[12] * Thorwald and his wife are a reversal of Jeff and Lisa—Thorwald looks after his invalid wife just as Lisa looks after the invalid Jeff. Also, Thorwalds hatred of his nagging wife mirrors Jeffs arguments with Lisa. * The newlywed couple initially seem perfect for each other (they spend nearly the entire movie in their bedroom with the blinds drawn), but at the end we see their marriage deteriorate as the wife begins to nag the husband. Similarly, Jeff is afraid of being tied down by marriage to Lisa. We will write a custom essay sample on Rear Window Analysis or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page * The middle-aged couple with the dog seem content living at home. They have the kind of uneventful lifestyle that horrifies Jeff. The Songwriter, a music composer, and Miss Lonelyhearts, a depressed spinster, lead frustrating lives, and at the end of the movie find comfort in each other: The composers new tune draws Miss Lonelyhearts away from suicide, and the composer thus finds value in his work. There is a subtle hint in this tale that Lisa and Jeff are meant for each other, despite his stubbornness. The piece the composer creates is called Lisas Theme in the credits. * Miss Torso, a beautiful dancer, initially seems to live a carefree bohemian lifestyle and often has various men over at her apartment. In the end, however, it is revealed that she has been waiting for her sweetheart, a slight-framed and boyish soldier, to return. The characters themselves verbally point out a similarity between Lisa and Miss Torso (played by Georgine Darcy). Other analyses, including that of Francois Truffaut in Cahiers du cinema in 1954, center on the relationship between Jeff and the other side of the apartment block, seeing it as a symbolic relationship between spectator and screen. Film theorist Mary Ann Doane has made the argument[citation needed] hat Jeff, representing the audience, becomes obsessed with the screen, where a collection of storylines are played out. This line of analysis has often followed a feminist approach to interpreting the film. Doane, who used Freudian analysis to claim women spectators of a film become masculinized, pays close attention to how Jeffs rather passive attitude to romance with the elegant Lisa changes when she metaphorically crosses over from the spectator si de to the screen: it is only when Lisa seeks out the wedding ring of Thorwalds murdered wife that Jeff shows real passion for her. In the climax, when he is pushed through the window (the screen), he has been forced to become part of the show. Other issues such as voyeurism and feminism are analyzed in John Beltons book Alfred Hitchcocks Rear Window. Rear Window is a voyeuristic film. As Stella (Thelma Ritter) tells Jeff, Weve become a race of Peeping Toms. This applies equally to the cinema as well as to real life. Stella invokes the specifically sexual pleasures of looking that is identified as exemplary of classical Hollywood. The majority of the film is seen through Jeffs visual point of view and his mental perspective. Stellas words sum up Hitchcocks broader project as film maker, namely, to implicate us as spectators. While Jeff is watching the rear window people, we too are being peeping toms as we watch him, and the people he watches as well. As a voyeuristic society, we take personal pleasure in watching what is going on around us. [citation needed] (from wikipedia. org)