The Interpretation Of Alfred Hitchcock's Rear Window

1243 Words 5 Pages
In an attempt to define Auteurism, critics have introduced various interpretations of authorship making it a highly polemical matter. Ever since the French journal Cahiers du Cinéma’s first publication in April 1951, la politique des auteurs has been controversially analysed through diverse approaches. Although these interpretations complement each other, covering the basic idea of the theory, the differences remain evident. This essay seeks to demonstrate not only that Rear Window (1954) is a clear example of auteur cinema but also that Alfred Hitchcock himself should be considered as an indisputable auteur. Firstly, it will define an auteur as a film director whose cinema is conceived as an art form that allows him to express his personal …show more content…
Therefore, Hitchcock uses recurrent stylistic features in many films, reinforcing the value of individuality. As a true auteur he mingles the creation of a personal signature in cinema with a particular eagerness to experiment. This is reflected by impromptu appearances in his films. For instance, in Rear Window when fixing the clock in the songwriter’s flat. He also experiments by using the rolling camera technique in Rope, the montage of Psycho and the frequent use of the Kuleshov Effect throughout his films, usually used with an extreme close up of the camera into a character’s face, emphasizing the actor’s facial expressions (Peter Wollen, 2004). This is often exemplified in Rear Window when Jeff is staring at his neighbours in his room, mainly when observing Miss Torso or Mr …show more content…
By seriousness one must make reference to the symbolism attributed to the camera, as in the film it is not only seen as a prop, but also as a key element for the narrative’s development and evolution of psychological themes. For instance, Mazzella (1991), elucidates that “the camera, of course, is our way of seeing the world of the film and of relating to that world. When we wish to hear something better, the camera obliges by jump-cutting closer, as when we cannot quite make out what the sculptress is telling Thorwald” (Anthony J Mazella, 1991: 70). However, the mise en scène also helps to define Hitchcock’s singular way of directing like an auteur, such as the selected

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