mans whims, freedoms and his own career-construction of the world. They argue; its summer. They are not quite looking in the same direction. It demands his separation from the world. We dont see any bodies, there are no death threats, and our amateur sleuth hero might just be out of his mind. It putters between dissatisfaction and the vague promise of a loophole: a sudden storm that might cool the air or dislodge its density, a breeze that locates the nape of your neck, or a neighbour whose goings-on might provide temporary diversion. Later in the film Jeffries notices that plants in the courtyard flowerbed have grown shorter, leading him to presume a body has been buried there.
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In the film, Thorwald cuts her up and dumps her parts in the river. For our convenience they look out to the right, producing an odd disjunction between foreground and background. We can roam around the picture at our own pace. The camera our Town by Thorton Wilder reveals and focuses viewers' attention on actions and details which no character in the story sees. If proof were needed that photography was not really Hitchcocks subject, consider the bits of photographic activity that we see.
Pearson, Hitchcock's, rear, window : Reflexivity and the Critique of, voyeurism, in Enclitic (Minneapolis Spring 1983.
thriller about voyeurism but in reality is more of an excuse to get Stone and costar William Baldwin out of their clothes.
Rear, window (1954) is an intriguing, brilliant, macabre Hitchcockian visual study of obsessive human curiosity and voyeurism.