Rear Window strongly advocates traditional gender roles. Discuss.

In Alfred Hitchcock’s film, Rear Window, first released in 1954, traditional gender roles are
not strongly advocated nor are they opposed; however, gender stereotypes are presented
neatly for observation by Hitchcock that causes the audience to question them, and how
much they can dictate one's actions. While the 1950s tend to be viewed as a time of con-
formity, of the nuclear family, and the working husband looking after the wife and family at
home, the 1950s world of Rear Window consists of childless couples and those seeking love
whose relationships do not seem to fit into any gender assumptions. Hitchcock explores the
themes of emasculation, voyeurism and gender roles in both the traditional and modern
sense through the multiple characters in the film and the complicated relationship between
the two main characters, L.B Jefferies (Jeff) and Lisa Freemont.

Traditional gender roles in Rear Window are, in some areas, reversed between the two pro-
tagonists, Jeff and Lisa. Hitchcock presents Jeff as a physically passive, ‘emasculated’ man
with a broken leg whereas Lisa is projected to be an independent, successful and active
woman. Hitchcock uses the trope of a ‘damaged and insecure man’ through Jeff as he is
physically lower than everyone else due to his confinement to a wheelchair and thus shows
his reliance on women to do even the simplest of tasks. Hitchcock introduces Lisa as she
casts a shadow over Jeff’s face, startling the audience as to what could possibly be causing
this horror-movie-like scene. This casting of the shadow as well as showing Lisa from a low
angle reflects Lisa’s power and dominance over Jeff, again highlighting how the paradigms
of gender have been flipped. Hitchcock presents Lisa in a daunting fashion that may shock
male viewers as to what women would do in power, however, quickly refutes the idea as he
induces the audience to see her in the most beautiful way through a close-up shot of her
face. As she dominates the frame, it is understandable why Jeff is affronted by her power
and sexual assertiveness. This illustrates Jeff’s fear and dismissiveness of women, which
ironically contrasts with his heavy dependence on Lisa and Stella. Hitchcock frequently sug-
gests that women are capable of doing the same things as men, through the character of
Lisa, as she is a working woman whose life wasn’t typical of females at the time, especially
after World War Two, the time period the film was created in, where women had to take on
the roles and responsibilities men used to have. This representation switches the traditional
conceptions of gender roles between the two main characters as the male, Jeff, is not strong
and dominant as audiences expect him to be, rather Lisa is.

However, Hitchcock not only ‘reverses’ traditional gender roles in some instances, but also
allows Jeff and Lisa to retain some of their gender stereotypes. Lisa retains the typical fe-
male stereotypes such as the acts of caregiving and existing as an object for the male pro-
tagonist to look at. Jeff naively believes that a pretty girl does not need to do anything, she
“simply has to be”, highlighting the notoriously sexist perceptions of the 1950s. Jeff further
shows how he has preserved the clichés men are often known for as the concept of the
‘male gaze’ is examined. Arguably, most of the film consists of Jeff staring voyeuristically,
especially at the young, deft dancer, Ms Torso. The sight of her cleaning personifies the pa-
triarchal male gaze, and reflects the idea that men have more power and should 'look'
whereas women should be 'looked at'. Voyeurism in the film is positioned to be more of a
masculine activity, as Hitchcock allows only Jeff to hold the big, powerful camera lens to
view the neighbours. Furthermore, Hitchcock extensively uses the Kuleshov Effect to pro-
mote the idea that Jeff is looking and observing, as he is a voyeur by profession, a photogra-
pher. This effect keeps Hitchcock’s perspective shot aligned with Jeff’s eyeline, and makes
voyeuristically watching his neighbours easier. Hitchcock manipulates the audience into how
to perceive a scene using this technique. He uses his film as a means to convey his views
on the inherent nature of humans to watch others, how dangerous it can be, and how it is
predominantly a traditional gender stereotype that men and women readily accept.

In addition, Hitchcock presents the other characters, such as Detective Doyle and Ms Lone-
lyhearts to be typical of men and women respectively of that time. Doyle remarks that he has
“wasted enough time following leads based on female intuition”, completely degrading Lisa’s
claims to knowledge, and positing that they are naïve and innocent about the world. Doyle
thinks female intuition “sells magazines but in real life, it’s still a fairy tale”. Ironically, it is
Lisa’s female intuition that provides the first hard evidence of the murder, the wedding ring,
symbolising the importance of a female perspective. Furthermore, Doyle objectifies women
by the way he looks at them, which Ms Torso exemplifies, as Hitchcock plays around with
the idea of how common men looking at ‘sights’ like these are. Hitchcock often presents
Doyle from a low angle, implying a sense of power and control. This demonstration illus-
trates Doyle’s dominant nature as a man, and the feeling of superiority he has over virtually
every character in the film. Similarly, Ms Lonelyhearts is a highly traditional feminine charac-
ter who goes to the verge of nearly committing suicide because of a lack of a man in her life.
She is shown to wear green throughout most of the film, indicating her envy, possessiveness
and materialistic attitude, with a need to own people and things. Towards the end of the
movie, Ms Lonelyhearts connects with The Songwriter through his music, and she is seen
wearing a white dress, suggesting her innocence as well as a new start to her life. Hitchcock
usually exhibits Ms Lonelyhearts from a very high angle. This manifestation illustrates Ms
Lonelyhearts dependent and desperate personality, as well as symbolising the impact that
society’s expectations on women can have on an individual, thus presenting the idea of the
traditional ‘female relying on the male’ concept.

Ultimately, the film Rear Window is more of an exploration of the interchangeability of gender
roles and their potential for change overtime, than it is a strong advocation of traditional
gender roles. By using high and low angles, Hitchcock manipulates the audience to view
characters as dominant or not and uses the Kuleshov effect to highlight the theme of
voyeurism throughout the film. Hence, Hitchcock presents the classic roles the two genders
have without strongly criticising or supporting them, but allows the audience to reflect upon
traditional gender stereotypes.