Essay Introductions for Rear Window

Prompt #1: “How does Hitchcock combine elements from the genres of thriller and romance in Rear Window?”

Introduction / Main Contention / Message of Director

Director Alfred Hitchcock’s film Rear Window is both a compelling crime thriller and an engaging romance,
adroitly [cleverly] combining the two film genres through a narrative that draws elements from both.   The plot
is structured around a murder investigation, albeit [though] an unconventional one, as it is a pair of civilian
lovers, rather than the Police, who solve the crime.  Working together as a team to establish Thorwald’s guilt
acts as the catalyst that diffuses the conflict between Jeff and Lisa subsequently revitalising their relationship.  
These intersecting plotlines are supported by the exploration of the theme of voyeurism that is a conduit
[intermediary] between the supposed crime and Jeff’s romance with Lisa.  As a result of solving the murder
mystery the personal differences between Jeff and Lisa are resolved at the end of the film.  Included in the
narrative, Hitchcock incorporates several red herrings [deceptions] designed to obfuscate [confuse] the truth
and mislead the audience as they watch the elements of a thriller building towards a suspenseful climax.  
Hitchcock includes many conventional elements of both thriller and romance genres in order to engender
feelings of excitement and apprehension in the audience as it builds towards the exciting highpoint.

Prompt #2: “By the conclusion of Alfred Hitchcock’s film, LB Jefferies is entirely redeemed”.  Do you agree?

Introduction / Main Contention / Message of Director

A pivotal debate running through the film Rear Window directed by Alfred Hitchcock is whether voyeurism and
the ethics of spying on other people is inappropriate and illegal and the concept of Jeff’s redemption is two-
fold.  Firstly, the viewer is asked to consider whether Jeff’s actions of spying crosses a moral line. Secondly, by
bringing a murderer to justice, effectively justifies his snooping in the first place and earns him some level of
redemption. Consequently, the viewer forms an opinion that Jeff would have to prove himself worthy of
redemption from his transgressions.  Paradoxically, Hitchcock does question the morals of 1950’s American
society that was obsessed with spying and intrusion into people’s private lives as a consequence of the ‘Red
Scare’, but he also legitimises Jeff’s voyeurism as a way to catch a murderer in the pursuit of justices.  
However, in the closing moments of Rear Window the viewer is brought full circle, as the camera again hovers
over the sleeping Jeff, only this time, instead of a single leg cast encasing ‘the broken bones of LB Jefferies’,
both of the photojournalist’s legs are sheathed in a ‘plaster cocoon’.  The film reveals that Jeff’s humiliation of
hanging out of his rear window in his pyjamas and his subsequent broken legs are seen as Hitchcock’s
reprimand for Jeff’s immoral voyeurism and are some way to his redemption.  

In Alfred Hitchcock’s Rear window, viewers are presented with multiple ethical and moral dilemmas
which affect the way characters can viewed throughout the film. Centring, predominantly around
the ethics of voyeurism, the ethics and moral ambiguities of voyeurism are heavily displayed
throughout the film.
 At the beginning Jeff is a photojournalist, at the start therefore his use of the telephonic lens
legitimises his spying through his job at the same time the 50’s paranoid of the red scare also means
people are suspicious of other people.  He is able to look at his neighbours even if its morally wrong
without too much criticism.  
 This enables Jeff to snoop on his neighbours.  The neighbours are isolated and are fine with someone
spying on them as they are scared of communism
 Looking after the community.  Jeff is ‘protecting’ the community from suspicious people.  Therefore,
in his voyeurism he solves a murder and brings a murdered to justice which almost legitimises his
voyeurism.  When he does this, there are people who are critical of his voyeurism.  For example,
quotes from Doyle (private lives), Lisa and Stella
 Despite all the morals and ethics, Jeff is bored and will look out anyway.  He uses voyeurism as a way
of not fixing his problem with Lisa.  Even though it is unethical, we find that despite Jeff is flawed due
to his criticisms of Lisa.
  The whole idea of ‘swamp of boredom’ and the heat allows people to spy on them.  The neighbours
are almost allowing people to spy on them.
 The audience is just as guilty as Jeff as we too are watching as voyeurism.  Hitchcock wants audience
to consider the privacy issues of spying and question the ethics.
 Lisa finds evidence of murder, Jeff’s struggle with Thorwald leaves him with 2 broken legs.  Hitchcock
reprimands him for his illegal spying, yet it is up to the audience to consider whether jeff has been
redeemed or not.  
 Has Jeff’s civic duty to help his neighbours weigh up to the moral issue of spying on his neighbours
 There are 2 ways to think about it.  The moral side in the 50’s, and the redemption through his broken
legs and the happy ending through a Hollywood type ending.
 Ethics of spying runs through the film
 Lisa says what happened to “love thy neighbour”.  The civic duty of neighbour’s vs the ethics of spying
on them.  
 Hitchcock critiques spying however wants the audience to consider the 2 options.

Prompt #3: “How does Rear Window suggest that relationships between men and women are not always easy?”

Introduction / Main Contention / Message of Director

A sense of uniformity pervaded American society in the 1950s, the desire to conform to the societal
expectations was further enforced by the fear of being seen as an outsider and in turn experience the
consequences of Senator Joseph McCarthy’s reign of political terror and fear referred to as the ‘Red Scare’. 
Master of suspense Alfred Hitchcock encapsulates this time period in his 1954 thriller Rear Window as we
watch from the shadows of Jeff’s apartment the secrets that his neighbours attempt to keep.  Hitchcock
suggests that relationships between men and women are not always easy as a result of a number of different
factors.  The power of femininity and gender roles pervade the relationships within Rear Window. 
Furthermore, Hitchcock expresses that relationships are not easy due to the conflict between the husband and
wife within the relationship.  Hitchcock demonstrates ultimately, however difficult relationships and marriages
are to maintain, that they nourish and succour their members so that the alternative is so painful suicide might
be the only choice.  Whilst encouraging the development of relationships within the film, Hitchcock ultimately
condemns the voyeuristic tendencies of American society with the 1950’s. 

 Hitchcock is trying to say that relationships especially marriages aren’t easy to maintain, but you need
to work at them in order for success.
 In the film he critiques the marriages
 He views marriage as morally correct in the 1950’s.  It was a conservative era.
 Men were the breadwinners; women would stay home.
 Tension was caused by men underestimating women after the war.  This is compounded by Jeff’s
misogynistic views of Lisa and the other women.  He has such sexist views that their relationship is on
rocky-ground.
 Lisa wants to get married despite Jeff being unwilling.
 Lisa has much more control that Jeff as he is emasculated.
 The film also talks about and defines other marriages.  The parallel between Lisa and Jeff and
Thorwald’s marriage.
 Jeff describes Thorwald’s as a ‘nagging wife’ and brings up the negative of violence within marriage
which was not talked about during the 50’s.  A lot of men who came back from the war were mentally
affected and would hurt their wives.  Divorce was not possible as the men had the money.
 Thorwald’s is a failed marriage.  
 Stella however is happily married and exhibits the 50’s view of marriage,
 Same as Doyle
 The couple with the little dog is quite a different relationship as they are happy, which seems to work.
 Hitchcock says it is better to be in a relationship and have that relationship work than not be in one. 
Such as suicide and other issues.

Prompt #4: “We’re a nation of Peeping Toms”.  To what extent does Hitchcock endorse this idea in Rear Window?
 Introduction / Main Contention / Message of Director

A pivotal debate running through the film Rear Window directed by Alfred Hitchcock is whether voyeurism and
the ethics of spying on other people for personal enjoyment is inappropriate and illegal.  Hitchcock both
endorses and confronts the notion of senseless voyeurism as poor taste but he also says it is a natural aspect
of human condition or mere curiosity that people snoop on others.  However, Hitchcock does also question the
morals of 1950’s American society that was obsessed with spying and intrusion into people’s private lives as a
consequence of Senator McCarthy’s fear of Communism referred to as the ‘Red Scare’.  Through the character
of Jeff, Hitchcock legitimises his voyeurism so that the audience, along with Stella and Lisa are drawn into the
spying, suggests that human beings have a propensity to look and spy.  If Rear Window is an argument for
voyeurism it might be from the point of view of engagement and a sense of community.   The unifying
characteristic of the tenants in the apartment block is they do not communicate and live in isolation from each
other.  While the means that Jeff discovers the murder are ignoble, perhaps the end, the arrest of the
murderer is worthy.  Concomitant [affiliated] with this is the extent to which the community isolation is
mitigated by the final scene of the film, Jeff’s character development and life are on track and the film has a
‘happy ending’.

Prompt #5: “In many ways Lisa could be said to be the real hero of Rear Window”.  To what extent do you agree?

Introduction / Main Contention / Message of Director

Alfred Hitchcock’s Rear Window, released in 1954, ostensibly portrays the sociocultural context of 1950s
America by using a set and characters that act as a microcosm of urban life.   The set supposedly represents a
typical apartment complex in Greenwich Village, New York, and is used as a backdrop for audiences to peer
into the lives of an eclectic group of individuals.  Lisa appears to be more typically heroic than Jeff, thereby
subverting stereotypical expectations of men and women at the time.  Critical viewers are thus encouraged to
note the importance placed upon women’s involvement within the film.  Through the subjective gaze of Jeff,
audiences see superficial, stereotyped representations of 1950s America.  However, Hitchcock refuses to
patronize audiences by only offering this limited perspective whilst simultaneously encouraging them to
critically reflect on the underlying tensions that arose from 1950’s values.  By including important progressions
in the film’s detective narrative that are due to Lisa’s efforts, Hitchcock subverts the male idealization of the
Hollywood ‘action-man’ at the time, instead creating a male protagonist who is house-bound and forced to
rely upon the help of his high-spirited girlfriend.

 Must spell out the extent to which Hitchcock is showing

 IN the movie it is very gender related
o Men are typically the heroes whilst women are more submissive in the 1950’s, however Jeff
also stereotypes the women.  For example, Ms Torso.  He stereotypes Ms lonely Hearts.  He
gives us blinkered views which are devoid of reality
o When it comes to Lisa, jeff views her through the male gaze.  He stereotypes her through her
‘park avenue’ persona.  He is underestimating her power as she is the power broker in the
relationship.
o In order to develop in the relationship, Lisa has to manipulate Jeff into making him think she
is important.  When she turns on the lights, she brings the light to the relationship.  When
she leans over him and the shade foreshadows the problem.
o The camera points up at her signifying her power.
o When she brings the dinner from club 21, she is the power broker and initiates the dinner.   It
is a role reversal; Jeff cannot even open the bottle of champagne.  He is emasculated,
o When she gets involved in the murder mystery.  We see her changing the way Jeff views her. 
She puts message in apartment, jumps in the apartment and even takes the ring.
o She is assertive through her nature of being active within the relationship. 
o She is able to cope unlike what Jeff believed.
o Hitchcock is warning that it is not the normal stereotypical male hero, it is Lisa which is the
Hero.  He is warning the audience to not underestimate the power of women.  
o The beginning of the move the songwriter song is not complete.  However, the composition
is completed at the end of the film.  The composition of the film signifies the completion of
Lisa’s heroism and her progression.  It also saves Lonelyhearts.
 o Hitchcock also demonstrates to a 50’s society that people should not conform to societal
expectations.  Women act as heroin’s, which is opposed
o Hitchcock also critiques society by not looking out but actually looking in by valuing the
people in your relationship as Jeff looked out and could not see the problems in his
relationship.

Prompt #6: “Neighbours like each other, speak to each other, care if anybody lives or dies…but…you don’t even see”.  
Despite his close observation of his neighbours, Jeff doesn’t really care about them.  Discuss.

Introduction / Main Contention / Message of Director

Alfred Hitchcock’s Rear Window, released in 1954, ostensibly portrays the sociocultural context of 1950s
America by using a set and characters that act as a microcosm of urban life.   The set supposedly represents a
typical apartment complex in Greenwich Village, New York, and is used as a backdrop for audiences to peer
into the lives of an eclectic group of individuals.  Hitchcock observes the tendency for humans to be drawn to
others in a disconnected, non-participatory manner and challenges his viewers to reflect upon the value of
neighbourliness.  While Jeff’s close surveillance of his neighbours may seem well founded, it also becomes
apparent as the film progresses that he is bored, restless and more interested in his next assignment than the
concerns of his neighbours.  Through the subjective gaze of Jeff, audiences see superficial, stereotyped
representations of 1950s America.  However, Hitchcock refuses to patronize audiences by only offering this
limited perspective whilst simultaneously encouraging them to critically reflect on the underlying tensions that
arose from 1950’s values.  Hitchcock corners his audience to observe the dark, sordid aspects of voyeurism by
presenting Jeff as a character who prefers to watch rather than engage with his neighbours.  Jeff, encourages
cinema goers to become a third voyeur within in the film Rear Window as they are welcomed into his
apartment and observe the minute vignettes out his rear window as a way of suspiciously watching the actions
of his neighbours.

Prompt #7: “What people ought to do is get outside their house and look in for a change”.  Through Rear Window
Hitchcock criticizes the voyeurism of society.  Do you agree?

Introduction / Main Contention / Message of Director

Director Alfred Hitchcock’s film Rear Window suggests that there is a fine line between community
involvement and voyeurism.  Being involved with and concerned for one’s community is shown to be a positive
thing; however, intrusive spying is presented as somewhat insensitive and unhealthy.  Hitchcock encourages
audiences to confront their own attitudes to observing their neighbours, and suggests that many people focus
on the lives of others as a way of avoiding dealing with situations in their own lives.  While it is true that in
Rear Window the final outcome is a positive one, Hitchcock does not present this as justification for the
invasion of other’s privacy.  Rather, he leaves it for the audience to decide whether the ends justify the means
when it comes to voyeurism.

Prompt #8: “To what extent do you agree Rear Window can be seen as representing American Society in the early
1950’s?”

Introduction / Main Contention / Message of Director

Alfred Hitchcock’s film Rear Window, released in 1954, ostensibly [supposedly] portrays the sociocultural
context of 1950’s America by using a set and characters that act as a microcosm [miniature version] of urban
life.  The apartment complex in Greenwich Village, New York is used as the backdrop for the protagonist and
the audience to peer into the lives of an eclectic [varied] group of individuals with no regard for their privacy.  
Throughout the film, the narrative critiques the notion of post-war paranoia by showing how the Communist
‘Red Scare’ pervaded 50’s society, the desire to conform to societal expectations, and more specifically
endorsed the ‘male gaze’.  Furthermore, Hitchcock provides a scathing social commentary on the gender
norms of love and marriage and the social tensions that threatened the ‘American Dream’.  Moreover,
Hitchcock subtly suggests that society would benefit from critically reflecting on their own lives and ‘look in for
a change’, before peering into the lives of others outside.
 Prompt #9: “You don’t think either one of us could ever change?”  How much do Jeff and Lisa change in the course of the
film?

Introduction/Main Contention/Message of Director

L B Jeffries, the protagonist in Alfred Hitchcock’s Rear Window does not want to lose his glamorous girlfriend
Lisa Carol Fremont, but does not want to marry her either, preferring to keep things ‘status quo’ .  Jeff’s
reluctance to commit to Lisa provides the central conflict of the film and both characters eventually change in
order to facilitate an acceptable Hollywood resolution.  However, Jeff’s changes are more significant and more
substantial than those of his ‘too beautiful’ lover. Jeff, a photojournalist, views himself as an action-man more
suited to ‘combat boots’ and a ‘three-day beard’ than a ‘blue, flannel suit’ playing the role of Lisa’s Manhattan
spouse. He refuses to change and remains unmoved by Lisa’s efforts to wine, dine and seduce him. When
Lisa’s ‘opening night’ strategies fall flat, she seems more open to change and sacrifices some of her ‘Park
Avenue’ persona in order to become Jeff’s ‘Girl Friday’. However, in the third act, an immobilised and almost
helpless Jeffries becomes besotted with Lisa as she repeatedly puts herself in dangerous situations.  The
blonde heroine exploits this change in Jeff’s attitude and Hitchcock’s ending suggests that Jeff, now in two
plaster casts, has finally succumbed to the charms of this ‘too perfect’ woman. 

Prompt #10: “We’re two of the most frightening ghouls I’ve ever known”.  Few of the characters in this film behave in a
moral or ethical way.  Discuss.

Introduction/Main Contention/Message of Director

In Alfred Hitchcock’s thriller film Rear Window, ethics are not black and white.  Many of the characters operate
on the potentially spurious [false] basis that the end justifies the means.   In their efforts to establish the truth
and bring a murderer to justice, both Jeff and Lisa are guilty of behaving in ways that are ethically
questionable.  However, on the other hand, Hitchcock considers that their intentions are honourable and the
outcome is a desirable one with a murder/mystery solved.  Of all the principle characters, only Lars Thorwald
behaves in a truly immoral fashion by murdering his wife.

Prompt #11: “Rear Window shows how easy it is to be deceived by appearances”.  Discuss.

Introduction/Main Contention/Message of Director

In Alfred Hitchcock’s suspenseful thriller Rear Window, there is a constant tension between appearance and
reality.  Watching people and events through the eyes of the protagonist LB Jefferies, the audience is initially
led in one direction, only to discover that previous suppositions and beliefs are incorrect.   Many of the
characters are not as they seem from the outside, and the film confirms that superficial information can be
misleading at best, dangerous at worst.  Indeed, the text warns us against the risks of making premature
judgements based on bias or limited understanding, showing that it is all too easy to be deceived by surface
appearances. 

 the idea of facades by the people who are behind the windows as the people are isolated in the
apartments.  The reality is different.  Jeff’s blinkered views are not a reality of what's happening.  For
example, Ms Torso (Stanley)
 appearance of Lisa.  She is feminine and independent; she has an important position in fashion and is
very wealthy.  Jeff is not wealthy and lives in a bohemian district and does not earn the same as Lisa.  
She is way more powerful and clever than Jeff and knows how to manipulate him and get what she
wants, which is to get her to comply and eventually marry her.
 we are removed from reality; we don’t see the real people outside the apartment. 
 Because he is a photojournalist, he can put a distance between himself and people, as he is
emotionally distanced between them.
 The walls in between the apartments represent the gaps in his understanding of his neighbours
leading to superficial conclusions that reflect his prejudices and stereotypical views especially on
women.  Jeff fails to look beyond the surface.  
  There is a big discrepancy about what Jeff says about Lisa and what the camera actually reveals about
Lisa.  jeff tries to insult her, yet we see that she is a beautiful woman.  Jeff shows his insecurities.
 She critiques how Jeff says Lisa is too perfect.  Stella is not a stereotypical person either.  Stella
understands that Lisa is quite a versatile person and criticises Jeff’s unwillingness to commit to Lisa.
 On appearances it seems that Mr Thorwald is a loving husband as he seemingly brings her food.  This
is however false as he is plotting the murder.
 Doyle accepts Thorwald’s explanation as he cannot fathom someone killing their wife in plain view of
others.  Doyle however is incorrect as he is deceived by appearances
 Hitchcock critiques the facade 

Prompt #12: “Rear Window ultimately depicts women as dependent on men”.  Discuss.

Introduction/Main Contention/Message of Director

Rear Window a thriller film directed by Alfred Hitchcock, displays the stereotypical aspects of 1950’s American
Society in its depiction of some women who clung to the traditional patriarchal social structure of dependence
on men.  Yet Hitchcock also challenged this notion with his portrayal of Lisa Fremont as a successful
independent woman.  Hitchcock suggests that some women were dependent on men for financial security,
social companionship and social status in his characterization of Miss Torso, Miss Lonelyhearts and the female
in the newly wed partnership.  However, he also condemns the notion that women need males in order for
them to be successful and independent, in his role reversal of the relationship between Lisa and Jeff.   While
women in the 1950’s were mostly dependent on men for financial security and social status, Hitchcock
confronts this 50’s societal view.  Ultimately, he suggests that women are underestimated by men and are
capable of providing for themselves rather than men who need women to affirm their own personal
masculinity.  

 suggesting that women depend on men for financial security.  Also, there is a role reversal with Jeff
and Lisa
 Ultimately Hitchcock critiques the patriarchal society as women had no choice whilst men were the
breadwinners  
Discuss that Lisa is not dependant on Jeff. .