How Does Hitchcock Use Cinematography In Rear Window

The film 'Rear Window' (1954), directed by Alfred Hitchcock, is an examination of voyeurism as a moral dilemma faced by both individuals in an ordinary neighbourhood, and by the Government during a time when suspicion and paranoia were rampant in America. Hitchcock's own view on the topic is not immediately clear; he presents the idea of spying on others in both a positive and negative light. In doing so, he may be commenting on the ambiguity of what is right or wrong in such circumstances. Rear Window is unique in its setting, and by allowing viewers a small glimpse into the lives of the neighbours by looking out Jeffries' apartment window, the director effectively creates a very tense situation. In this way, Hitchcock uses the ability to

While at the beginning of the film viewers might not have regarded themselves as intrusive or overly curious, the way Thorwald's character is presented later makes them feel justified in their voyeuristic inclinations. Because an antagonist is anticipated in most films, even the slightest trace of questionable behaviour from Thorwald gives viewers something to attach their suspicions to and immediately alerts them that he is not to be trusted. Hitchcock further emphasises this through the use of cinematic devices that portray Thorwald in a consistently unfavourable light. These include the use of sound, such as the scream Jeffries hears from Thorwald's apartment that first stimulates his curiosity; the shadowy lighting which gives a very secretive, surreptitious atmosphere; and the way the camera focuses on particularly untrustworthy moments. Subsequently, it is very easy for viewers to ignore their usual morals around prying. Although ultimately the audience does come to the correct conclusion in this situation, it is also important to note the contradictory message Hitchcock creates through Doyle. His comment that "people do a lot of things in private that they couldn't possibly explain in public", expresses that there is a great deal that happens behind closed apartment windows, and that because so little is known about others' lives, it

The two most obviously opposing views are evident in Jeffries' conversation with Stella. Jeffries is more curious than.he is cautious about the investigation, whereas Stella is disapproving, declaring that "we've become a race of peeping Toms". This exchange is one that might encourages viewers to consider a different point of view, which contradicts their desire to find out more. This adds yet another layer to a scenario that is already morally problematic, and thus contributes to the growing suspense. The question of whose opinion is "right" continues to arise throughout the film as well. Even at the end, although it can be argued that Jeffries was eventually successful in solving the murder, Stella's recurrent warning "I smell trouble" undeniably came to fruition as well - the whole case certainly causes a great deal of "trouble", and arguably more trouble than it was worth. It is worth noting that Lisa and Jeffries were placed in life threatening situations and that these could have been avoided if not for their choice to be involved. This could be an indication of Hitchcock's agreement with Stella on the matter - perhaps it is more beneficial for people spend their time and energy, as Stella suggests, "tak[ing] a look inside their own apartments", rather than meddling in the affairs of others. The fact that Jeffries is facing away from the