Analysis of a Still: Rear Window

Ali Banach

Mr. Bomboy

IB Film HL I

5 May 2015

Analysis of a Still: Rear Window

Throughout Alfred Hitchcock’s Rear Window, he utilizes a variety of cinematic tools in order to explore perspective and the complexity of the human experience. Throughout the film, the protagonist, L. B. Jeffries, observes out of his rear window, the actions of his neighbors. Jeffries is in a wheelchair due to a broken leg. His occupation is that of a photographer and he has a visible degree of restlessness with the limitations of his injury and occupation. While he explores the private lives of his neighbors, the audience observes his own personal relations, namely those with his nurse, Stella, and his fiancé, Lisa. In the primary conflict of the film, Jeffries perceives actions of his neighbor that point toward a crime, namely the murder of his wife. The climax arrives in Jeffries’ own confrontation with his neighbor, Thorvald, in which Jeffries is ultimately thrown out of his own window. In order to reach concrete conclusions about this complex film, one must narrow it down and as in this case, analyze a single still in the context of the larger meaning of the film. This still demonstrates how Rear Window uses perspective to allow the reader to share in the emotions of the protagonist; through the employment of techniques that will ultimately be affiliated with the postmodern movement, the film demonstrates that examination, reflection, and observation are essential elements of the human experience.

The use of perspective is a prominent and essential element in the development of the film and its meaning. The limited perspective of the film, limited to Jefferies’ apartment and rear window alone, allow the viewer to empathize with the claustrophobic nature of Jefferies’ situation. The scene depicted in the still is from the perspective of Jefferies’ rear window. In some ways, this point-of-view perspective feels intrusive, as spying on others violates social norms and ideas of privacy that society holds. However, this feeling of intrusion provokes a sense of irony because the practice of watching film is in a way, a form of spying. This sense of self-awareness of the audience’s identity as viewers aligns with many of the concepts commonly applied in the postmodern period.  The emotions felt toward Jeffries are then cause for reflection into the viewer’s own sense of identity as they question the morality and ethics of the film world.

The still also provokes a sense of curiosity and  urge to examine due to its complex nature. In this shot, Hitchcock utilizes variety in each of the windows while maintaining a strong sense of unity with the neutral color scheme and repetition. Through the employment of framing, the still manages to capture the complexity of the various human experiences that are occurring in Jeffries’ backyard. The widescreen nature of the still also emphasizes the vastness of the human spectrum of experience and emotion, minimizing the size of the viewer and creating an opportunity for self examination.

Another notable feature about this still is the use of line. Obviously, the windows each play an important role by framing, but there is also a plethora of other types of line used. The use of leading lines, for example, is prominent within this shot. On the left hand side, there is a tree that is in the shadows that draws the eye to the couple in the window. The stairs leading up to the dancer’s also act act as leading lines to her apartment. Each of the fire escapes also exemplify good examples of strong lines. The fire escape on the building on the left directs the viewers’ attention toward the skyline, where skyscrapers are visible. These massive constructions also contribute to the minimizing effect on the viewer. This sense of vastness provokes reflection for the audience on their own life, and the lives of those around them.  The fire escape on the building on the right effectively demonstrates the interconnectivity of humanity while maintaining a degree of isolation, which is seen through the connecting ladder, but separate landings. This theme of relative isolation is continued throughout the film through Jeffries’ own separation from the people around him including his fiancé. Jeffries’ unwillingness to commit to his relationship with Lisa and instead fixate on his profession of photography reflects the theme of the need to examine one’s own life and also the theme of isolation. There is also the use of repeating vertical lines, in the lines of the building, the gates, various railings and fences in the shot. The use of vertical lines can convey power and that may be the case in this still; they may be conveying the power of the sects of humanity existing as a cohesive whole.

Overall, Rear Window effectively uses various cinematic techniques in order to demonstrate the necessity of self examination and reflection in one’s life as well as the immense complexity of the human experience. The still uses a variety of principles of design to touch on themes that are further expanded upon in the rest of the film. The particularly unerring part about the film is the reflection that it provokes among the audience as to their own actions resembling spying. The film provides a sharp commentary on the intricacies of human interaction and ability to coexist.

Works Cited

Rear Window. Dir. Alfred Hitchcock. Perf. James Stewart and Grace Kelly. Paramount Pictures,

Patron Inc., 1954. Streamed Video.