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"Rear Window" and "High Noon", 2002.
Compares the filming techniques of these two films.
1,385 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
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Abstract
The paper shows that the films "Rear Window" (1954) by Alfred Hitchcock and "High Noon" (1952) by Fred Zinnemann have impressed viewers on the basis of the techniques used to expose what their writers had in mind. It examines how the filming techniques are ones that suit the scenes, making use of sounds and positions of cameras. These have helped to magnify the meaning in each scene so that the viewer would be drawn into the film deeply. The paper shows that had these two films been made with ordinary filming techniques there would probably have been far less impact on the viewers and as a result these films would not be appreciated the way that they are today. The paper compares the techniques in both films.
From the Paper
"The way that the town in ?High Noon? is portrayed is quite different to the scenes in ?Rear Window? because of the single set is chosen in the latter. ?Rear Window? is very limited in the scenes that are shot because most of it takes place through Jeff?s window [Hitchcock 18]. The shots of Jeff are the ones that may be compared with the hero, Kane, in ?High Noon?. This is because of the way that the camera focuses on them. In ?Rear Window? the hero is filmed in a closed frame while in ?High Noon? the hero is filmed in an open frame, because the shots are plentiful and include various backgrounds."
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"Rear Window" and "High Noon", 2002.
Compares the techniques used in these two films by Alfred Hitchcock and Fred Zinnemann respectively.
1,386 words (approx. 5.5 pages), 6 sources, MLA, $ 46.95
»
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Abstract
The films ?Rear Window? (1954) by Alfred Hitchcock and ?High Noon? (1952) by Fred Zinnemann have impressed viewers on the basis of the techniques used to expose what their writers had in mind. The paper shows that the filming techniques are ones that suit the scenes, making use of sounds and positions of cameras. These have helped to magnify the meaning in each scene so that the viewer would be drawn into the film deeply. The paper concludes that had these two films been made with ordinary filming techniques there would probably have been far less impact on the viewers and as a result these films would not be recognized the way that they are today.
From the Paper
"Jeff?s view of the world outside his home is indeed a restricted one, but one that would enrich his listening ability. This is because he had to develop his listening power to hear all that took place in the apartments around him. The filming of Jeff?s wheelchair in particular is seen frequently, highlighting the world that he lives in too. It is something that is seen throughout the movie and emphasizes that the story is based on the views of a single person (Jeff). This explains the reason why all the scenes are filmed through his window [Weis 107]. This is similar to the shots frequently shown of clocks in ?High Noon?."
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Hitchcock's ?Rear Window?, 2004.
An analysis of the photographic techniques in Alfred Hitchcock's film, ?Rear Window?.
935 words (approx. 3.7 pages), 0 sources, $ 33.95
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Abstract
This paper examines the film, "Rear Window", Alfred Hitchcock's 1954 masterpiece of cinematic suspense in which the main protagonist, L.B. Jeffries, portrayed by veteran film actor James Stewart, is bound to a wheelchair following an accident while doing his job as a photojournalist. In particular, considering Hitchcock's penchant for suspense, it looks at how "Rear Window" contains some of the most unique and compelling camera work ever to grace the silver screen, especially the use of use of OPOV, or optical point of view, which allows the audience to see what was occurring in any particular scene from the character's point of view.
From the Paper
"Several key scenes in Rear Window fully illustrates the use of the optical point of view shot. As the film opens, the viewer gets to see what the interior of the apartments across the courtyard looks like and how the various tenants begin their day. The camera then moves back into Jeffries's room, starts at one point and then slowly progresses in an arc to reveal Jeffries's personal items and some photographs taken by him. This also lets the viewer know what type of work Jeffries does for a living. As the arc ends, the viewer then sees Jeffries asleep in the wheelchair. The camera then moves to the door of the room, where Jeffries's girlfriend Lisa, played by the stunning Grace Kelly, comes in and approaches him."
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?Rear Window? by Alfred Hitchcock, 2002.
An review of Alfred Hitchcock's film "Rear Window" with an emphasis on the filming technique used.
1,915 words (approx. 7.7 pages), 0 sources, $ 61.95
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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."
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"Rear Window", 2002.
An analysis of the 1954 movie, "Rear Window" by Alfred Hitchcock.
1,850 words (approx. 7.4 pages), 13 sources, APA, $ 59.95
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Abstract
This paper introduces and discusses Hitchcock?s movie ?Rear Window.? Specifically it discusses how the film draws upon the aesthetic traditions of previous film movements, genres or national styles. It looks at the practice of voyeurism - observation of other people - and how this ties into the theme of the movie.
From the Paper
"Hitchcock?s thriller ?Rear Window? (1954) starred James Stewart and Grace Kelly, and tells the story of a photographer stuck in a wheelchair with a broken leg for several weeks. He cannot stand the boredom and lack of activity, so he begins watching his neighbors with some of his zoom lenses. He finds a neighbor who he believes is going to kill his wife, and tries to stop him, and save the woman. ?Using the story of a wheelchair-bound photographer (James Stewart) who passes the time recuperating from a broken leg by spying out his window into the apartments of his Greenwich Village neighbors, Hitchcock made a movie that both encourages voyeurism and shames it, that refuses to condemn it or applaud it? (Taylor). Voyeurism is of course a main theme of the movie, but another theme is the inhumanity of Stewart (or anyone) to sit and spy on people?s personal moments, such as ?Miss Lonleyhearts? dinner with an imaginary boyfriend who is not there. He also sees her attempt suicide, and although he does call the police, he does nothing else to help her. That is a commentary on our distance from our neighbors, and our distance from each other as human beings."
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"Rear Window", 2006.
An analysis of the visual pleasure depicted in Alfred Hitchcock's film "Rear Window".
2,210 words (approx. 8.8 pages), 1 source, MLA, $ 68.95
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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."
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Zinnemann's "High Noon", 2002.
This paper look at the film genre of the Western and more specifically at the film "High Noon", directed by Fred Zinnemann.
964 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
The writer asserts that the strength of the film "High Noon" is the way in which it takes the simple and makes it complex. The themes in the film seem obvious - good vs. evil, strength of the individual to overcome all odds - but Zinnemann subtly adds elements of gray to give the film more depth. The paper shows how this added depth allows the film to explore fundamental truths.
From the Paper
"The American identity is represented in High Noon through the similar themes that make the Western genre: empowerment of the individual, nature vs. development, freedom. One of the key ideas that makes us American is the idea of being able to start over or anew; that we can always go back, move forward, or just go somewhere else - physically or psychologically to make life better or start fresh. It?s a theme that runs through American literature as well as American film. Jay Gatsby is an example of psychologically being able to start over in one of the greatest works of Am. Lit. Or, as Belton states, Fenimore Cooper shows this through his Natty Bumppo character and Bumppo?s choice to leave his civilized world in order to embrace the natural world and culture of his Native American friend Chingachgook in his Leather Stalkings tales series."
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"The Rear Window", 2002.
Examination of Alfred Hitchcock?s treatment of marriage, and his view of women in "The Rear Window".
1,720 words (approx. 6.9 pages), 1 source, MLA, $ 55.95
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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"
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Hitchcock's "Rear Window", 2002.
This paper is on Alfred Hitchcock's Rear Window and focuses on one of the basic theme of the film, the act of 'voyeurism'.
756 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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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). "
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"Rear Window", 2002.
Analysis of Alfred Hitchcock's 1956 film.
1,800 words (approx. 7.2 pages), 5 sources, $ 63.95
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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 ..."
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"Rear Window", 2003.
Analyzes Alfred Hitchcock's 1956 film.
675 words (approx. 2.7 pages), 3 sources, $ 23.95
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Abstract
Discusses the voyeuristic atmosphere and how Hitchcock uses the outer courtyard stories to underscore the story inside the apartment of the protagonist, Jeff, played by actor, James Stewart.
From the Paper
"In Alfred Hitchcock's Rear Window (1954), the story that is being told in the apartment of L.B. "Jeff" Jefferies is often reflected in the life going on in the apartment windows around the courtyard. In the voyeuristic atmosphere that Hitchcock has set ..."
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Windows 98 vs. Windows CE, 2001.
A technical comparison & contrast between Microsoft Windows 98 & Windows CE operating systems.
1,430 words (approx. 5.7 pages), 7 sources, MLA, $ 47.95
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Abstract
This paper compares and contrasts the Microsoft Windows operating systems: Windows 98 and Windows CE. It describes the key features of each, the system requirements, installation requirements, history, and hardware/software supported.
From the Paper
"The introduction of Windows 98 was low key compared to Windows 95. Many corporate IM departments stuck with Windows 95 rather then going to Windows 98 because the cost of upgrading outweighed the advantage of Windows 98. Those that upgraded to Windows 98 appreciated and liked the many new features and especially Windows 98 SE (Second Edition) version. Many users that had Windows 98 upgraded to the second edition because of new built-in features and the low cost of the upgrade."
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Alfred Hitchcock and Voyeurism, 2003.
An analysis of the connection between voyeurism and cinema in the Alfred Hitchcock films "Rear Window" and "Vertigo".
2,128 words (approx. 8.5 pages), 3 sources, APA, $ 66.95
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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. "
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How To Make a Movie Out of Raymond Burr and a Bunch of Birds, 1999.
This essay examines themes such as marriage and voyeurism in Alfred Hitchcock's films "Rear Window" and "The Birds."
2,685 words (approx. 10.7 pages), 4 sources, MLA, $ 80.95
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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."
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Microsoft Windows Server 2003, 2005.
This paper discusses the Windows Server 2003, which is the fastest, most dependable, most secure Windows OS ever developed by Microsoft.
2,240 words (approx. 9.0 pages), 6 sources, APA, $ 69.95
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Abstract
This paper explains that the Windows Server 2003 Operating System (OS) uses the most important features of Windows 2000 Server technology but makes it simpler to install, manage and use, resulting in an extremely high productive infrastructure, which aids in making the network a strategic asset for an organization. The author points out that Microsoft has enhanced and extended Windows Server OS by including the advantages of 'Microsoft NET' for linking up people, systems and devices. The paper relates that the Active Directory, the integrated, distributed directory service that comes with Microsoft Windows Server 2003, helps the administrator of the organization add a user to Active Directory by means of a single entry, permits remote access to the network, enables the identical user account for exchange messaging and co-ordinates the same user with database access for accounting, client relationship management or other applications.
Table of Contents
Introduction
Feature Enhancements of Windows Server 2003
Benefits Accruing to the Organization Running Windows Server 2003
Active Directory
Features of Active Directory
From the Paper
"The impact of the defunct action is reversible, and it does not purge schema objects from the database, but instead "takes them out of order." such that it is possible to reuse them. The schema re-define is enabled at the Windows Server 2003 forest functional level. Apart from that, adding new attributes to the global catalogue does not cause GCs to perform full synchronization like it used to. Windows Sever 2003 replicates only added attributes between Windows Server 2003 domain controllers. It will again do a full synchronization when the destination is a Windows 2000 DC. However, the biggest change in case of Applications in Windows Server 2003 Active Directory is the capability to create Application Partitions which are basically partitions in Active Directory similar to other partitions (Domain, Configuration, Schema), however can be created on any DC in the forest and duplicated to any other DC in the forest by choice."
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