Rear Window Essay

In the 1950s moving picture rotter Window, director Alfred Hitchcock sets his entire work looking through a soldiery, L. B. Jeffries prat windowpane. Because of his broken leg, Jeffries is jailed to his apartment, and correct to his wheelchair. It is here, in his apartment, that the protagonist watches, or even spies on his neighbors. He draws conclusions on these concourse, scarce from a distance crosswise the apartment-building courtyard. In addition to this physical distance separating Jeffries from his neighbors, his perspective, too, distances him from his conclusions.Only seen through the render of a window and the lens of the eye of a tele survey camera, Jeffries point of view is throttle to only a single vision. We see that this single vision, however, provides Jeffries with an ample substance of information. The avant-garde cinematography combined with the original plot creates a current mean to guide. Alfred Hitchcocks innovative Rear Window allows the audien ce to pull in their own experiences to the film just as Jeffries draws conclusions on his neighbors from a distance, man too establishes his own perspective in the real world, and brings this experience to the film to understand its meaning.In Rear Windows opening scene, the camera slowly scans the setting that will surround L. B. Jeffries for the rest of the film. It pans over numerous apartments, all full of people doing different activities, going on his or her daily routine. This seemingly normal day in the New York urban center apartment complex gives the audience a sense of familiarity with the setting, and the people that conk there. As seen through Jeffries rear window, this scene foreshadows the rest of the film diminished does the audience know that what seems ordinary, a simple window, actually reveals more crime.Because the films title is Rear Window, this specific window indeed holds roughly(prenominal) significance. One could say the window hides Jeffries from t he real world, as he is confined to his own apartment. While on the other hand, it could be said that the window submerges the protagonist into this world. I believe that the window serves as both tools as the films antagonist, Thorwald sees Jeffries spying on him, Jeffries closes his window and retreats into his apartment- escaping the real world.On the contrary, however, the audience sees Jeffries constantly peering through the window, use the pane of glass to near enhance his vision, and draw his conclusions. moreover as the window both hides and reveals L. B. Jeffries, so does his camera lens. Throughout the movie, Jeffries uses his lens to get a better vision of his neighbors and their activity. Yet the protagonist uses his camera in an unconventional way- rather than using it to take a snapshot of a certain instance, Jeffries uses the camera lens simply to magnify his vision, and gain a deeper understanding of his neighbors, especially Thorwald.Just as L. B. Jeffries, I too have drawn conclusions on others from a distance. Attending a small high school comprised of only unmatched thousand students, I have a superficial understanding of most of my peers. What seems to be a small distance separating my peers and I, actually acts as a barrier, just as Jeffries window and camera do. Recently, I was formally introduced to a peer of mine, who I simply knew by association. I had heard people give their own opinions about her, critique her, or speak passing of her- I had yet to draw my own conclusion of her.It was only until I spent a few days with her, and had conversation with her that I could in the end create my own opinion. For years I had an imprinted opinion of her in my head, but as I finally broke through the barrier, my rear window, I could either support or refute my assumption. Right on some accounts and wrong on others, I, like L. B. Jeffries, drew conclusions with a barrier we both had been living behind our rear window.