The French expression \u201cmise-en-scene\u201d involves carefully choreographed visual elements both on a theater stage and on camera. This can be seen in Alfred Hitchcock\u2019s Rear Window, who is known for his skillful use of manipulating the scene with character staging, lighting, camera angles, and positioning of props. All of these elements are what makes Hitchcock the \u201cmaster of suspense\u201d. By intentionally positioning the camera so L.B. Jefferies is shown to be on the far left side of the screen, this allows the audience to get a beautiful view of the sunset and distant skyline of the city (1:34:43). Not only do the vibrant orange hues of sunset stand out, the neighbors across the way is given the biggest focal point. In a way, Jeff seems to be overpowered by the apartments taking over the screen. With Jeff\u2019s apartment being the primary setting throughout the entirety of the film though, it would seem like this is a new angle and focal point to add variety to the film. Either that, or Hitchcock\u2019s mastery genius in the art of mise-en-scene is in play.
The scene where Jeff is sitting in the bottom left corner while the sunset and skyline dominate the frame is full of symbolism. Hitchcock’s composition visually reinforces Jeff’s isolation, powerlessness, and role as an observer. It also speaks to the larger themes of the film-voyeurism, the unseen tensions within everyday lives, and the passing of time. The background contrasts the sinister events Jeff is beginning to uncover, making the scene not only visually striking but also filled with narrative depth. Much like Jeff is physically trapped in his apartment, his placement within a smaller portion of the screen may symbolically trap him within the confines of the frame. As a photographer, Jeff is used to framing the world through his lens, and now the world is framing him, stuck in a moment he can only observe. Even the skewed perspective of Jeff in the corner versus the large background reinforces the idea that he is a passive spectator. The world around him is larger and more complex than what he can control or influence. His reduced size and position in the frame can also represent how powerless he feels in comparison to the world he\u2019s watching. While he\u2019s the protagonist, his position and situation suggests he is far from in control.
In relation to the reading “It’s Just a Movie”: A Teaching Essay for Introductory Media Classes by Greg M. Smith, the important argument that every single thing in the film has a purpose can be used here. Smith points out the argument that, \u201cEven if something occurred on film without their planning for it, they make a conscious choice whether to include that chance occurrence. What was chance in the filming becomes choice in editing\u201d (Smith, 128). Alfred Hitchcock is one of the most influential directors in the entirety of cinema, especially in suspense. He is human which means he made mistakes, but it is clear the visual appeal in each of his films are precise and meticulate enough to have to analyze and view in multiple viewings.<\/p>\r\n
Works Cited<\/p>\r\n
Hitchcock, Alfred.\u00a0Rear Window<\/i>. Paramount Pictures, 1954.<\/p>\r\n
Smith, Greg M. \u201c\u2018It\u2019s Just a Movie\u2019: A Teaching Essay for Introductory Media Classes.\u201d Cinema Journal<\/i>, vol. 41, no. 1, 2001, pp. 127\u201334.<\/p>\r\n","protected":false},"excerpt":{"rendered":"
The French expression \u201cmise-en-scene\u201d involves carefully choreographed visual elements both on a theater stage and on camera. This can be seen in Alfred Hitchcock\u2019s Rear Window, who is known for his skillful use of manipulating the scene with character staging, lighting, camera angles, and positioning of props. All of these elements are what makes Hitchcock … Continue reading Framing Suspense: The Art of Camera Angles and Mise-en-Sc\u00e8ne in Rear Window<\/span><\/a><\/p>\n","protected":false},"author":4806,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[145914],"tags":[],"class_list":["post-1181","post","type-post","status-publish","format-standard","hentry","category-2024-blog-posts"],"_links":{"self":[{"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/posts\/1181","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/users\/4806"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/comments?post=1181"}],"version-history":[{"count":0,"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/posts\/1181\/revisions"}],"wp:attachment":[{"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/media?parent=1181"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/categories?post=1181"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/403lit\/wp-json\/wp\/v2\/tags?post=1181"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}