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The film introduces each of the characters in the film to the audience, identifying each of them by how they look or feel. Rear Windows demonstrate several ways of voyeurism. Jeff, the main character is currently handicapped due to his broken leg. Jeff’s movements are so poor that all he seems to be doing is spying on his neighbours. Observing his neighbours became a passion. He was  hooked on the idea of not missing a single moment of their lives. Alfred Hitchcock, the director of this film uses a variety of techniques to inflict the same emotions as the characters onto the viewer the audience have the same feeling as Jeff. Hitchcock makes us feel like we have a some sort of connection towards Jeff. The entire film was portrayed from the audience's perspective. So that the audience feels like their inside the film. The set is designed to deliver the audiences a feeling that we know pretty well where we are and start getting familiar with the surrounding. From Jimmy Stewart’s apartment we great the perfect view the neighboring apartments, which means we the audience can see each character. This is a very valuable part that connects with getting comfortable in the scene of the film which is an important element of being a voyeur. Hitchcock’s camera techniques are slow and subtle just as a real person would look at things, these types of shots help deliver a deja vu of voyeurism. It is a successful way of giving you the feeling that you are the one the room, as if you are a part of the film. Rear Window is just another one of Hitchcock’s successful film that manages to influence the audience into thinking they are connected to the film. All of this is successful due to POV (point of view shot), we see what Stewart see’s and well thought editing.

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In Alfred Hitchcock's film
"Rear Window", the director masterfully utilises countless film techniques to explore the concept of voyeurism. From the beginning of the film it is quickly established whose perspective the viewer will be confined to, this perspective belonging to the main character, Jeffrey, who is restricted to his apartment as a result of a broken leg. As Jeffery whittles away the time by observing his neighbour's through their rear windows, he progressively becomes more obsessed with his neighbours to the point of collaborating with his friends to further investigate his neighbours activities. However, this come with a catch; as he is confined to his apartment, he is unable to actively assist his friends in their investigative endeavours, and as the audience is confined to the same viewpoint as Jeffery we can sympathise with him. One example would be when Jeffery's girlfriend, Lisa, breaks into the apartment of their neighbour, who Jeffery believes to have murdered his wife, to search for evidence. The neighbour returns home and catches Lisa in the act, and as Jeffery and the audience are led to believe that the neighbour has murdered his wife, we understand that the neighbour is very dangerous and that Lisa is at risk of being murdered as well. However, thanks to Jeffery's broken leg and that the viewer is confined to his perspective, Jeffery, and by association the viewer, are unable to actively interfere with the situation, which has an obvious effect on Jeffery and therefore the audience. Hitchcock's masterful use of perspective allows the viewer to fully sympathise with Jeffery and gives the viewer a feeling of helplessness and establishes Rear Window as a masterpiece of film.

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The film introduces each of the characters in the film to the audience, identifying each of them by how they look or feel. Rear Windows demonstrate several ways of voyeurism. Jeff, the main character is currently handicapped due to his broken leg. Jeff’s movements are so poor that all he seems to be doing is spying on his neighbours. Observing his neighbours became a passion. He was hooked on the idea of not missing a single moment of their lives. Alfred Hitchcock, the director of this film uses a variety of techniques to inflict the same emotions as the characters onto the viewer the audience have the same feeling as Jeff. Hitchcock makes us feel like we have a some sort of connection towards Jeff. The entire film was portrayed from the audience's perspective. So that the audience feels like their inside the film.

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In the film 'Rear Window' , the director Alfred Hitchcock,

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In the movie “Rear Window”, directed by Alfred Hitchcock, the concept of voyeurism is explored through the lighting in each frame and the different types of camera angles that are used. In this film the viewers experience the film the same way as the main character, Mr. Jeffries. The viewers archive the same experience as Mr. Jeffries by the camera angles that are used; such as the switching from what Mr. Jeffries sees to a close up of his face. Throughout the whole film the viewers are experiencing what Mr. Jeffries sees and it makes the viewers wonder what the other characters are experiencing too. I find it very intriguing that Hitchcock used lighting and camera angles to make some scenes more suspenseful than they already are, because it portrays what Jeffries is experiencing himself.

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In Alfred Hitchcock’s film “Rear Window”, the audience participates in the suspenseful unravelling of a murder.  While we, the viewers, are fed clues and guided into the depths of this thrilling cinematic masterpiece, the perspective remains constant.  Limited to one location, other than a brief scene late in the film, we witness the unfolding of the narrative from the living room and out the rear window into the courtyard of the main character.  The film is visually narrated through the lens of Jefferies; a travelling photographer who is immobilized by a broken leg. It is shot and articulated entirely from his perspective.  We see as Jeffries sees. This provides a more intimate setting as it invites the audience to feel like the story is their own experience.  Jefferies inner “peeping Tom” emerges as he keeps himself busy by viewing his neighbors lives through his rear window. In doing so, he symbolizes the quintessential voyeur taking us from an inner world and gazing outward.  Interestingly, it makes the viewer feel like a peeping Tom as well as we stare out the window into the lives of unsuspecting neighbors.  Although the the film is captured through the eyes of Jeffries, Hitchcock inserts his directorial genius thus elevating both drama and suspense. The camera lingers on close ups of certain windows and characters to increase our interest. One striking example of this is seen when the window shades are drawn.  When re-opened a shocking event would have transpired revealing a turning point in the plot.  While the perspective of the film is envisioned through Jeffries’s gaze, the mastery of Hitchcock’s film making brilliantly transform both the viewer and the main character into the ultimate voyeurs.

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In the Film Rear Window, directed by Alfred Hitchcock, the concept of voyeurism is explored through a use of camera angles and thematic choices. From the opening scene until the closing credits there is only one setting, a housing complex where the main character, Jeffries, lives. Jeffries is the main ‘voyeur’ in the film. This is made clear by the way the camera moves throughout the movie. Rather than cutting from scene to scene, it pans across the building to another window, almost like the eyes of a person.  The other way this movie plays with the idea of voyeurism is through the analogy between watching television and Jeffries addiction to his window. Similar to flipping through channels, the camera, representing Jeffries’ eyes,  moves from window to window, looking for something interesting to watch. When his eyes land on a window with closed blinds or nobody home, he simply moves on, looking for the most intriguing window, or channel. This metaphor for watching television represents the addiction that we have to scandal and drama, and how we view average lives as mundane. At one point Jeffries and Lisa even admit they are hoping that Mr. Thorwald murdered his wife, just so that their desire for drama can be met. During this time, they lose all sense of their own lives, which seem insignificant compared to whatever could be happening outside their window.

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In the film Rear Window, Alfred Hitchcock as the director uses his expertise to make a tense atmosphere for the viewer and makes the viewer becomes a voyeur through the main character, Jeff, while we watch the character’s life. The camera framings and angle of shots that he uses through Jeff’s binocular, camera, and POV  make illusions. The illusions that created from these film techniques give us the feeling of being in the room with Jeff, looking at the neighbor's windows, and see what’s going on. With lots of perspectives that we got from the main character (Jeff), through his binoculars, camera, and POV, we seem to see directly all the events that occurred in the film. Alfred Hitchcock uses the narrow space and perspective of the first person to built tensions. In the film, Jeff, the main character, spent his days watching his neighbors activities from his apartment window,  because he is unable to move freely from his wheelchair due to an injury he got. Nothing happens until one day, he finds something leery, and tries to figure what’s happening, the excitement, and suspense slowly starts to increase. Jeff expects that his neighbor killed his own wife, but due to Jeff's condition, he can’t do much. His girlfriend, Lisa, who is a socialite and his nurse, Stella, decided to take a risky action and go out from his apartment to check. I felt the suspense climax when Lisa went to the neighbor’s apartment and she got caught, and when the guy is in Jeff’s apartment and is trying to kill him.

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In the film, Rear Window, directed by Alfred Hitcock, traditional gender roles are both enforced and broken down in different ways. As a viewer we see countless stereotypical remarks made by the main character Jeffries. Not only is it towards the main female character, Liza, but it is also directed to characters he doesn't even know. The time and place in which this movie was filmed makes a lot of sense considering Hitchcock’s choice of language and actions.  The movie is shot from the vantage point of Jeffries’ apartment, which give us his perspective, as he watches his neighbors in their daily lives. One of the first shots we see as he’s looking out his window, is a young blond girl cooking her breakfast. While at first, it seems like a normal thing anyone would do in the morning, but the young lady is in her underwear. She is prancing around her house and whipping her long legs in the air.  The male gaze is immediately existent, even to the point where Jeffries has even named her Miss Torso. It automatically objectified the woman. However, there does seem to be a some gender crossings in the movie. Jeffires is unable to be the strong and independent male, because of his broken leg. There are multiple examples of him not being able to protect himself, Lisa, and even Mrs. Thorwald. Lisa has more freedom and independence, so she is able to go and do the investigating. She is demanding and knows what she wants. Her Character is the glamorous influencer, but she is much more than just a pretty face. She was the one that saw Jeffries camera flash and informed the police. She was brave enough to enter Mr. Thorwald house and find evidences. In the bigger picture, Hitchcock changes the usual stereotypical movie script and made a woman be the hero.

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In the film Rear Window, directed by Alfred Hitchcock, the concept of voyeurism is explored through the perspective of the photographer Jeffries. Since he broke his leg, he is stuck in his apartment, and spends his days watching his neighbours using his binoculars and camera. Hitchcock uses the frame of the shot to emphasise the fact that we are experiencing Jeffries’ perspective by displaying the view through his binoculars. This technique creates suspense for the viewer since we don’t have an overview and we are not aware of what is happening at the other windows.

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A man who is temporarily wheel-chair bound in an upper story apartment in New York City spend his time at his rear window overlooking apartments across the open space.  He is not apparently perverted, but simply bored and experiencing life by watching other people’s lives. The cinematographer is controlling our viewing experience in the film, and we are watching what happens through lease of the apartment of the main character. The film features only three scenes outside of this apartment. The experience of the main character is the experience presented to the viewer.  This experience is also reinforced by the supportive reaction of the main character’s fiancé.

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In the film Rear Window by Alfred Hitchcock, the concept of voyeurism is explored through the character Jeffries’s perspective. Jeffries has a broken leg and is bound to a wheelchair in his apartment. He becomes very restless and turns to watching the neighbours in the apartment block through his window for entertainment. Each window reveals a distinctive story to Jeff. Jeff becomes obsessed with watching the neighbours and picks up on their strange behaviours. The audience can only see the same limited perspective that Jeffries experiences. Hitchcock manages to portray the sense of voyeurism through Jeff's eyes very cleverly using the camera angles to build suspense. Hitchcock shows us that Jeff believes with absolute certainly that he has witnessed a murder, even though he has no solid evidence, and convinces the viewer to believe Jeff. Based on what we can see through the snippets of the neighbours lives through Jeff's perspective, the audience is convinced that a murder did take place.

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In Alfred Hitchcock’s Rear Window, the film delves into the idea of voyeurism, especially how easy it is to fall into the habit of prying into the lives of others and the thrill of secretly observing people without their knowledge. The film centers around a middle aged man called Jeffrey,  who began watching people out of boredom and how quickly it escalates into an obsession which he even manages to get other people involved. Most of the scenes are shot from a high angle and through the window of Jeffrey, which gives the viewers a sense of personally watching the characters alongside Jeffrey as they go on with their lives. This also means that the viewer’s perspective is strictly limited to frames that are visible from Jeffrey’s perspective (such as his window and binoculars) and their knowledge of the situation is tied to what Jeffry knows. Therefore, the viewers experience the thrill of spying on people as they are forced to use their imagination to extrapolate on what they have seen so far to try to comprehend what is going on, similar to what Jeffry is doing in the film. In the opening scene, there is a shot that panned the entire neighbourhood which then zoomed and focused on different windows , showing different people living different lives including Jeffry’s window. This scene was shot with a sort of natural movement that mimics a person’s gaze as it focused more on some windows and skipped other ordinary windows. The viewers are introduced to the concept of voyeurism through that scene. Similarly, the closing scene is also ended the same way to remind the viewers that they had also been spying into the lives of these characters all along.

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All of us have a ‘jeff’ in us, we are all addicted to several different ways of voyeurism. Alfred Hitchcock successfully expressed voyeurism through Rear Window.

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Rear Window - Anais

The film is introduces each of the characters in the film to the audience, identifying them by how the look or feel. Rear Windows demonstrates several ways of voyeurism. Jeff, the main character is currently handicapped due to his broken leg. Jeff’s movements are so poor that all he seems to be doing is, watching each and one of the people whom live in the same compound as him. His observations became an obsession, he was drawn to the idea of not missing a single moment. Alfred Hitchcock, the director of this film uses techniques to make the audience have the same feeling as Jeff. Hitchcock makes us feel like we have a some sort of connection towards Jeff, all of everything was filmed in the audiences perspective.

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In the film Rear Window, the Director, Alfred Hitchcock uses brilliant camera techniques to display voyeurism. The movie starts with a long continuous shot panning around an apartment complex. This shot briefly looks into the lives of people whether they know it or not. This is a recurring shot shown through the eyes Jefferies, a war photographer and the main character in the movie. We are introduced to him in a wheelchair with a broken leg. He is restless to get out the cast and go to work. Meanwhile, he has resorted to watching the neighbors as pastime. Jeff becomes obsessed with this and starts to stay up at night watching people. Throughout the film, the camera never leaves the apartment. When things happen outside, it is through the viewpoint of Jeff.

Jeff finds something suspicious one night and decides to continue to watch one specific apartment. Hitchcock uses vignettes on the frame to show Jeff looking through binoculars or a camera lens. As Jeff becomes more and more obsessed, he starts to conspire a murder in the apartment complex. This introduces suspense in the movie. Hitchcock uses shots from Jeffs point-of-view to narrow what the audience sees, making things less predictable and putting people on the edge of their seats. Watching through someone's eyes immerses the viewer in the story. Later in the film, Jeff’s nurse and significant other leave to investigate. Jeff cannot leave the house due to his injury. Hitchcock uses this as another method of suspense, showing action far away through Jeff’s eyes. He does not  have control of what happens outside of his apartment, he can only watch his friends, even when they are in danger.

Jeff and his friends get addicted to watching the neighbors while the audience gets addicted to watching the movie. We ourselves are also the voyeurs watching in on the characters’ lives. Throughout this film, Alfred Hitchcock uses amazing film techniques to keep the audience entertained, although the film takes place in one room. He uses the concept of voyeurism to make this movie suspenseful and unique.

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Log #2

In the film, “Rear Window” Alfred Hitchcock amazingly portrays voyeurism in many different ways. One way that really stood out to me was a repeating symbol that kept coming back. At least four times this happens, the camera frame pans by the neighbors representing Jeffries’ perspective and then continues to pan toward Jeffrie sleeping. This represents voyeurism by showing that you are Jeffrie being a voyeur on the neighbors, then you turn into a voyeur on Jeffrie. Overall, I believe Hitchcock did an amazing job on this film, he showed many varieties of things, one being voyeurism and the controversy of women.

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In the film rear window, Alfred Hitchcock introduces us to the main character Jeff. Jeff was a photographer until one day, he suffered an injury that would force him to stay at home for a long time. One morning Jeff woke up, he decided to take a look out his window, and see all of his neighbors and what they were doing. He gave each of his neighbors nicknames according to there personas, as the movie goes on Jeff starts to look at the window all the time and becomes a voyeur. But for the viewers most of the movie is shot through a P.O.V of Jeff, by doing this

Alfred Hitchcock gives the viewers the experience of being a voyeur. Our viewing experience is completely controlled from what Jeff decided to see, like when Jeff decides to use his long lens camera to get a better look hitchcock adds the black on the sides of the screen so that we see the same thing as Jeff. in conclusion Alfred Hitchcock does a great job of demonstrating, voyeurism though the film rear window.

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In the film "Rear Window", Alfred Hitchcock introduces us to our main character, Jeff. Throughout the film, Jeff becomes addicted to watching the people around him, as he slowly creates his own stories and names for everyone he watches. The viewer sees the movie through Jeff’s point of view. This effect gives the viewer the experience of being a voyeur. Our viewing experience is controlled by Jeff and what he chooses to see. Hitchcock put a vignette on the frame to show what Jeff saw when looking through his binoculars. Overall, Alfred Hitchcock masterfully demonstrated voyeurism through Rear Window.

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Rear Window - Looking Through the Binoculars of Alfred Hitchcock. Britt Koens

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Rear Window - Looking Through the Binoculars of Alfred Hitchcock. Britt Koens

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In the movie Rear Window, the audience gets to know Jeff, a man in a small neighborhood apartment who gets many others, including the viewer, addicted to watching other people’s lives. The director of the film, Alfred Hitchcock, uses excellent suspense techniques and camera angles. He gives the viewer a sense of being the main character and being the voyeur. In the beginning of the movie, Hitchcock gives the viewer the opportunity to determine if Jeff is absurdly addicted to voyeurism (spying on someone else’s private life) or just curious. Until Lisa, his girlfriend, suddenly sees something and locks her eyes on it. There's a long suspense and that's the exact moment the audience realises Hitchcock had us addicted to voyeurism all along but kept us oblivious to it until that moment. To further the idea of voyeurism, Hitchcock uses different filming techniques to make the viewer feel like one of the main characters. To name a few: a vignette frame, giving the audience a feeling of looking through the framing of Jeff’s binoculars and camera lens, the angle from his apartment window, lighting to portray certain people the way the main character sees them, and of course, the male gaze so that we view women the way Jeff (a male) would view them. Furthermore, if you were to analyse the way women are portrayed in this film, you'll see strange stereotypes, angles, lighting, and characteristics of these women. Even though there are more women in this film than men, the way they are portrayed might not be to their advantage. Women are seen dancing, flexing, ready and perfect in the morning, dancing in a certain way that exaggerates their physical features. They are often half naked in scenes with their windows open in broad daylight, going on with their lives, as if completely oblivious of the fact that there are other people in other apartments easily watching them. Another example of the way women are portrayed is the first two times the audience meets Lisa. In these scenes, it is dark and there is a closeup of her kissing the main character. Both times. The lighting on her accentuates her beautiful features and she is wearing clothing that show off her back, collarbones and chest. She is considered a “good woman” because she is fashionable, beautiful, and takes care of her man. Furthermore, many comments are made to women by their husbands/male friends that might not be true and might be offensive, but they ignore it and it is therefore not seen as a big deal. Women are portrayed as being either "too perfect" and "naggy" when they have a husband/partner, and "lonely" and "depressed" when they don't. However, women are not always portrayed as powerless in this film. Lisa has a good job and seems to be a powerful woman in her profession. Furthermore, she and Jeff’s nurse, Stella, take a lot of initiative and are risky and strong in their decisions and opinions, which is something that should be mentioned and noticed when looking at this film critically.