Camera Narration In The Movie 'Rear' Window

Camera narration is crucial to the effect the movie has on its audience. It is noticed that the viewer rarely gets close to the apartments or characters across the courtyard. The viewpoint is mainly fixed to Jeff’s apartment, apart from a few occasions where the camera plunges out of the window. The fronts of the buildings facing the main street are never shown either; instead all of the action takes place within the mystery and secrecy of the backyard, hence the title name ‘Rear’ Window. Perhaps Hitchcock realised that many people would not behave the same way in their front facing windows. Whilst they may hide their deepest, darkest secrets behind drawn curtains in the front part of their home, they may be less cautious at the rear of the

In fact, there are many mysterious doors belonging to the opposite apartments which the destinations to are never discovered. This is a device used to create fear of the ‘unknown,’ but also heighten suspense. Therefore, our gaze may not be as omnipotent as had been discussed in the previous chapter. Given that the movie is diegetic, it is impossible for us to see everything as Jeff is human and needs his sleep just like the rest of us. He becomes a prisoner of his own gaze, fearful of what incriminating evidence he may miss during his unconscious hours. However, on four occasions the camera plunges out of Jeff’s window, into the courtyard. These instances include the opening sequence, the scene where the body of the strangled dog is discovered, the scene where Thorwald pushes Jeff out of the window and the final scene, where Jeff is seen with both his legs in casts. These scenes are important as it gives the audience the opportunity to escapes Jeff’s gaze and adopt an unrestricted overview of the situation for once. The choice of using a non-voyeuristic viewpoint for the final scene is thoughtful as it suggests there is no longer a need to be a voyeur now that the murderer has been