Yazz on Film: Rear Window (1954), Opening Scene Analysis
- Yazz James
- May 24, 2018
- 5 min read
Again this was for uni; I took a film analysis module last term and for the final portfolio we had to do one opening scene analysis and one scene analysis. (My scene analysis was a clip from Scorsese's 'Hugo', but I didn't think it was particularly strong).
In the opening sequence [00:30-04:03] of Rear Window (dir. Alfred Hitchcock, 1954), voyeurism is established as a central theme through the cinematography and mise-en-scene, suggesting the film is self-reflexive. Wide-angle shots and slow panning cinematography techniques allude to the, later revealed, inquisitive and intrusive nature of the central character, L.B. Jeffries – referred to as Jeff/Jeffries - (James Stewart). Moreover, many aspects of mise-en-scene in the clip are associated with photography, highlighting the theme of voyeurism and the film as reflexive.
Firstly, the opening begins with an establishing shot of blinds rising with credits overlaying; this imagery mimics that of curtain-raising in a theatre (Clapp, 2016). This increases awareness of audiences as spectators themselves. This is then emphasised through a forward-moving shot which portrays the action of a person looking out of the apartment window. The theatrical imagery and camera movement add a sense of self-awareness to film leading viewers to question “the nature of cinema itself” (Belton, 2000).
The idea of an equilibrium is then introduced as audiences see the only settings of the film – the courtyard/apartments; the camera begins tracking a cat before panning upwards, following a ladder and continuing around the buildings before returning to Jeffries’ apartment. The cinematography reflects that of an observer gazing out at the courtyard and the fixed camera position – inside the apartment - further emphasises the voyeuristic nature of the film. Through this gaze also, minor characters are introduced - each portrayed to be a different archetype - representing a variety of people in one place. The diegetic radio advertisement is comical, describing what viewers presume to be the situation of the man listening – “over forty”, “tired”, “run down” (Hitchcock, 1954) – this further enhances the self-reflexive nature of the narrative. Moreover, diegetic sounds such as alarm clocks, cars and pigeons, give the setting an everyday, urban feel. These sounds add to the verisimilitude of the opening, reinforcing it as the equilibrium of the narrative.
Although the majority of Rear Window is shot from Jeffries’ perspective – later enhanced through camera tricks alluding to binoculars/camera lenses – this sequence is not and highlights the vulnerability of the apartment courtyard as a setting for all. Unlike the majority of the film, the audience are encouraged to watch the protagonist in this clip. He is positioned facing away from the window, asleep with beads of sweat on his head. Jeff’s vulnerable sleeping state allows viewers to invade his privacy, analysing the character’s apartment. The mise-en-scene of Jeff’s home is effective in depicting key aspects of the narrative; from focusing on Jeffries’ head, Hitchcock then cuts to a shot of a thermometer, increasing the audience’s awareness of the heat. The emphasis on the high temperature provides an explanation to the ease at which spectators are able to infer the stories of the different apartment owners – the heat causes characters to have windows open (p. 247, Fraley, 2011), blinds raised and use balconies, exposing them. The idea of exposure is also emphasised through wide-angle shots in the film, implying that everything is on show.
However, this portrayal is ironic to an extent and contrasts with the hermeneutic/enigmatic code – in terms of narrative, this relates to elements which are “unexplained or incompletely explained” (p. 243, Hassan, 2014) - which then means that viewers attempt to infer their own meanings of the story. Through the film being a thriller, the vast array of minor characters living in the apartments forces the audience to question the virtuosity of each apartment owner. Little information is given about the minor characters in the opening causing a lack of trust between the viewer and characters. Only later on in the film do the audience truly understand their lifestyles. Furthermore, the accompanying, non-diegetic score aids the mystery also; multiple melodies are heard and at times the music is polyphonic, alluding to conflicting character types and multiple personalities. There is also a sense of uneasiness through the lack of a single melody dominating the score. The tempo of the music adds to the sense of mystery surrounding each character; the camera moves slowly, cutting only occasionally, suggesting peacefulness and a sense of continuity, yet the lively score appears to juxtapose this, creating tension.
Lastly, the opening focuses on the protagonist and his lifestyle. The camera returns to Jeffries’ apartment, giving audiences an opportunity to learn about the central character. The shot of Jeff’s cast – “Here lie the broken bones of L. B. Jefferies” (Hitchcock, 1954) – present his character as humorous and self-pitiful. Audiences are encouraged to feel sympathy for the character, due to his broken leg, but also through his broken camera. The destroyed prop generates feelings of mystery initially, causing viewers to question what happened, but the photographs on the wall provide answers; Jeffries’ job is one of voyeurism; he is a photographer who focuses on dangerous events - this is implied through photographs of a racing accident and war – and so it is likely that he broke his camera and leg whilst working. (This is later proved to be true). Due to his daring nature and current injury, audiences may infer that Jeff feels trapped, therefore leading to feelings of sympathy.
Moreover, the establishment of the setting as a typical, urban-apartment courtyard adds a sense of universality to the narrative. Although Jeff’s job was exciting, his current lifestyle is dull in comparison – he is left to live in his apartment, just as the other characters are. This is further suggested by his simple, grey clothing, presenting him as ‘the everyman’ trope. By beginning the narrative of Rear Window this way, audiences are led to understand that they are likely to view the majority of the film from Jeffries’ perspective – a voyeur. On the other hand, audience members may interpret the film as being critical of the voyeuristic nature of contemporary society; Belton (p. 11, 2000) viewed the broken camera as a “symbol of prior punishment for voyeurism”, sparking the debate of the morality of a “peeping tom” (Hitchcock, 1954) - as nurse Stella (Thelma Ritter) states – further emphasising the importance of the voyeurism theme in the film.
Rear Window’s opening sequence highlights the theme of voyeurism as central to its narrative. Through cinematography mimicking that of the human gaze – as well as the use of diegetic sounds - Hitchcock gives the film a sense of self-awareness, encouraging viewers to become voyeurs themselves; the nature of spectatorship is also highlighted through the photography-associated mise-en-scene. The lack of information surrounding minor characters – teamed with the score - add to the film as a thriller, generating mystery. Hitchcock’s opening prepares audiences to be voyeurs for the course of the film, encouraging them to assess the mystery as the narrative unfolds.
Bibliography: • Belton, J. (2000), “Alfred Hitchcock's Rear Window” • Clapp, J. (2016), “Security and Hospitality in Literature and Culture: Modern and Contemporary Perspectives”, Access URL: https://books.google.co.uk/books?id=9OyoCgAAQBAJ&printsec=frontcover#v=onepage&q&f=false • Fraley, J. (2011), “Rear Window (1954)” Access URL: http://thefilmspectrum.com/?p=241 • Hassan, W. (2014), “Theory into Practice: Application of Roland Barthes’ Five Codes on Bina Shah’s ‘The Optimist”, Access URL: https://www.researchgate.net/publication/279179350_Theory_into_Practice_Application_of_Roland_Barthes%27_Five_Codes_on_Bina_Shah%27s_%27The_Optimist%27
Filmography:
• Hitchcock, “Rear Window” (1954)
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