The movie the Rear Window is one of Alfred Hitchcock’s greatest thrillers based on the 1942 short story, It Had to be Murder, by Cornel Woolrich. Primarily, it is a film based on the curiosity of a photojournalist L.B “Jeff” Jeffries who together with his nurse Stella and girlfriend, Lisa Fremont investigates the behavior of his neighbors as a way of passing his time as he recuperates from an accident. By carefully examining the movie one cannot stop marveling at the artistic mastery of the director in bringing to life some theories about filmmaking (Chionand Walter 34). Notably, it is possible to identify the position of the voyeur, application of editing effects and his manipulation of suspense as well as the use of sound effects.
In directing the movie in a classical period, Alfred Hitchcock introduces certain modern aspects that were not common at the time. Beyond the pace and visual look of the film, the director uses sound and music in an impressively cinematic way (Fawell 87). In fact, his use of pop music is impressive because he refuses to be stagnant in a particular time and environment that the story was written. Hitchcock pays attention to emerging technologies and the visual impact of modernity and explores the current characteristic effects of shock. In fact, he demonstrates Kuleshov’s theory and perfects the use of editing effects in a movie. Additionally, he directs the film in a way that sustains his suspense and leaving the audiences yearning for the next episode in the film (Plantinga 12). On a broader classification, these aspects of modernism can be said to be either idealistic or pragmatic modernism.
Primarily, the writer is idealistic by attaching a lot of importance on mental events that start with acts of seeing. Initially, the author portrays the journalist as a person in deep thought, and then he sees something and decides to investigate to confirm whether indeed there is murder. The movie betrays Hitchcock thinking of life through images and the idea that the world and everything that is in it as nothing more than pictures. Moreover, the video indicates a director views the audience differently and working hard to move along with him or her in the film.
Chion, Michel, and Walter Murch.Audio-vision: sound on screen. Columbia University Press, 1994. Print
Fawell, John. Hitchcock’s Rear Window.SIU Press, 2001. Print
Plantinga, Carl. Moving viewers: American film and the spectator’s experience. Berkley: University of California,2009. Print