Abstract
This paper examines how Alfred Hitchcock's films deal with many psychological themes, including the idea of voyeurism. It reviews two of his films; "Rear Window" (USA, 1954, Alfred Hitchcock) and "Vertigo" (USA, 1958, Alfred Hitchcock) and discusses the occurrence of voyeurism within the narratives of both films. It also looks at the idea that certain aspects of the films can be said to be representations of the voyeuristic nature of cinema-going itself.

From the Paper
"I will now look at Vertigo and consider how the voyeurism and the gaze of the film can be seen as much more sexual than that of Rear Window. It has been said that Rear Window seems like a comical "test run" for the more obsessive and frightening nature of Vertigo, and that Rear Window, Vertigo and Psycho form a sort of trilogy of films that contained the them of voyeurism. Vertigo was not as popular on its original release as Rear Window. This is probably due to the fact that there is a lot more complexity and psychology in the story, or because James Stuart seemed too old to play the romantically obsessed man. The story is about Scotty (James Stewart), an acrophobic detective who has been hired by a friend to trail his beautiful and troubled wife, Madeline. His quest at first is an innocent one, but he soon becomes Madeline's obsessive stalker. "

Tags:auteur, jeff, scotty

Abstract
This paper discusses Alfred Hitchcock's movie "Rear Window," and the way in which the main character, Jeff, develops into an obsessive voyeur as a result of becoming a temporary cripple. The writer discusses Jeff's relationship with his girlfriend, Lisa, and how it changes as her character develops in the movie. The writer also discusses the distinct approach of the camera angles used throughout the entire filming of the movie and how they help to create a feeling of entrapment.

From the Paper
"Stewart's character, Jeff, develops an intriguing pattern of voyeurism through the course of the film, which ultimately dictates into a direct obsession. Birthed as a mere distraction and effort to kill time, Jeff's voyeuristic curiosity begins to mold into a forthright obsession developing further as a result of several key happenings. Jeff is undoubtedly taken by a certain power he feels in being able to pry and spy into the lives of individuals, which, importantly noted, are unsuspecting individuals. This aspect feeds the voyeuristic nature, and nurtures the concepts of thrill for both the audience and Jeff as a character (I.M.D.B., 2007). This voyeurism proves to become more than a simple distraction or time utilizing endeavor, it becomes somewhat of an unhealthy display of inquisitive compulsion."

Tags:spectatorship psychosomatic, Grace Kelly, thrill binoculars masculinity murder

Abstract
This paper evaluates the first two scenes "Rear Window" by Alfred Hitchcock by looking at his filming methodologies shot by shot. The main character Jeffries sits and watches life through the window much as the viewer sits and watches that same life on a movie screen. The paper shows how Hitchcock's manner of presentation points to the thematic issues to be considered in the plot--voyeurism, guilt, isolation and reaching out to others.

From the Paper
"The opening scene in the film takes place in a single shot, and Hitchcock uses a fluid camera to pan in a nearly 360-degree arc to show the entire setting. This establishes the setting, many of the characters, the situation that exists at the beginning of the film, the role of the central character, and much about that character. An enormous amount of information is conveyed visually as the camera pans around the courtyard, remaining always in the window of the photographer's window, which will be the point of view of the courtyard throughout the film until near the end."

Tags:camera, photographer, shot, continuation, movie, screen

Abstract
The paper discusses how in the films "Psycho," "North By Northwest," and "Rear Window," Alfred Hitchcock uses the action of the camera to invite the audience to take part in the voyeuristic activities of the characters. In "Psycho" and in "Rear Window" Hitchcock invites the audience into very specific moments in which the main characters observe others in the films without their knowledge. The paper depicts how these voyeuristic moments were a trademark of Hitchcock films that provided a moment in time for the audience to be part of the film and view action that called the audience in as second party voyeurs lead by Hitchcock himself.

Tags:film, hitchcock, gaze

Abstract
This analysis provides a discussion of the significance of Maxim De Winter's photograph in Rebecca's west-wing bedroom in Hitchcock's gothic film "Rebecca." How this voyeurism pervades the film and impacts the new Mrs. De Winter is the main focus of the analysis.

From the Paper
"From the first scene to the final one in Alfred Hitchcock's gothic film "Rebecca", voyeurism is a primary theme. In the opening scene after the narration, a young woman comes upon a man and is accused of staring at him. As Maxim de Winter shouts at the woman "Who are you, What are you staring at". He is staring at his future wife who is nameless until she takes his last name and they move to his mansion, Manderley, where he used..."

Tags:surveillance, scrutiny, secrets, mansions, Manderley, Mrs. Danvers, love

Abstract
This paper, through a viewer s point of view, analyzes how the main character of the film, Jeff commits voyeurism and eventually gets into trouble. This paper also highlights how other characters of the film also take part in voyeurism.

From the Paper
"Alfred Hitchcock is an esteemed film director who is famous for combining art films with puissant reputation and great prominence among the audience. Throughout his career of filmmaking he has provided his audience with greater entertainment than they had ever imagined. It was Hitchcock, who assisted filmmaking to make a transformation from silent to sound, eliminate the eclipse of black and white movies with color cinema and supervised films which would be captivating not only to the general audience but also to film scholars and critics. Francois Truffaut said, "Hitchcock's oeuvre will live longer than that of anyone else because each of the films that compose it was made with such art and such care that it's able to rival the most attractive new work in movie houses and on television sets today" (Alfred Hitchcock and the Making of Film Culture,
http://www.mysterynet.com/hitchcock/silet.shtml). "

Tags:movie, view

Abstract
This paper explores director Alfred Hitchcock's stylistic signature through a compare/contrast of two of his films: "Rear Window" and "The Birds". The author explores some of Hitchcock's themes, such as marriage and voyeurism, that are common to both films.

From the Paper
"He has been called the Master of Suspense. Alfred Hitchcock would probably say that this tagline was merely invented to sell more cinema tickets, but many of his films contain elements that back up this formidable title. In Rear Window and The Birds, Hitchcock explores several different themes. However, each of these films still carries the true flavor of a Hitchcock film."

Tags:alfred, hitchcock, rear, window, tippi, thorwald, voyeur, jeff, mitchell, lisa, melanie, suspense

Abstract
This paper discusses Alfred Hitchcock's film, "Rear Window". It analyzes the film according to film critic Laura Mulvey. The paper specifically focuses on visual pleasure in the film and analyzes a particular scene that involves fade-in and fade-out. It shows how Hitchcock doubly achieved a thorough analysis of the human need for visual pleasure through his character, Jeffries, as well as through his production of a visually stimulating and thought provoking film.

From the Paper
"Following the initial expository scenes of the film that reveal Jeffries' confining condition and establish plot devices, Hitchcock transitions via a fade-in to the first really meaningful scene of the film. Hitchcock uses a fade-out from the previous scene to a fade-in to this scene to indicate its relative importance. Following the fade-in, the camera pans around the apartments opposite Jeffries'. Unlike depictions of the apartments in previous scenes, the apartments are lit in a strangely dim, orange hue. While it doesn't out right conflict with the verisimilitude of the film since it could represent the time of day, there is something about it that suggests a new perspective, perhaps that the apartments will be viewed differently from this point on. This expository shot of the apartments is clearly not meant to represent a human perspective since far too much visual information is available. It is simply meant to establish what is accessible to Jeffries if he so chooses to see it. He has a sort of omniscient visual perspective of the neighborhood. In each of the apartments, people are going about their business, unaware that someone has full access to their lives. While in the film, Jeffries has yet to become interested in these neighbors, this shot, full of action, foreshadows his future obsession with the exciting view out his rear window. Additionally, the music accompanying this music serves not only to reveal the close proximity of the apartments, but also, since the music is a vocal range, it is meant to reveal the range of characters residing in the apartments. Finally, once the vocalist hits her top note, the camera rests on sleeping Jeffries, covered in shadow. The shadow represents the audience's knowledge of Jeffries' internal workings at this point in the film; it also falsely suggests his vulnerability."

Tags:narrative, cinema, voyeurism

Abstract
This paper looks at the way in which Alfred Hitchcock relates to women in his works in general and "The Rear Window" in particular. The movie offers a comprehensive, and voyeuristic view of marriage and male/female relationships. The paper shows how the movie focuses much more on the intimate lives of its characters, than it does on the central plot device of the murder mystery.

From the Paper
"Jeff spies on a large variety of people, including a composer who is struggling to make ends meet, a sexy dancer (Miss Torso) who fights off many suitors, a lonely spinster who drinks (Miss Lonelyhearts), Lars Thorwald, a jewelry salesman who is unhappily married to Anna, a happy newlywed couple, a couple on a fire escape, a woman with a poodle, a grouch masseuse, and a police officer. The movie's main plot centers on Lars Thorwald who is suspected of murdering and dismembering his nagging wife, Anna. Jeff enlists the help of his girlfriend Lisa and his witty, clever masseuse Stella to help him track down the murderer of Mrs. Thorwal."

Tags:Thorwal, female, marriage, women, anna, voyeurism, murder, mystery

Abstract
Analysis of Alfred Hitchcock's 1956 film. Ethics of voyeurism explored by the director. Describes main character as a professional photographer and professional voyeur. Confined to a wheelchair after an accident, he "watches" his neighbors thorugh a rear window and discovers their secrets, including a murder. Relation of danger to excitement.

From the Paper
" Perhaps only one other filmmaker -- Walt Disney -- lived to see his name become synonymous with a certain type of screen entertainment: In Hitchcock's case, it was stylish, sophisticated suspense, laced with humor and romance (Maltin, 1994, n. p.). Ebert has said of Rear Window that "here's a film about a man who does on the screen what we do in the audience -- look through a lens at the private lives of strangers" (2000, n.p.).

Alfred Hitchcock started in the movie making business in 1920, before there was color, before there were talkies , and this greatly influenced the way he directed and filmed a movie -- the way he saw the movie. His experience helped him to understand that a picture is worth more than a thousand words of dialogue. According to Maltin, Hitchcock proved that the presence of sound was no reason not to continue to tell stories ..."