Rear Window by Alfred Hitchcock Cinematography Film Analysis Paper
Rear Window by Alfred Hitchcock Cinematography Film Analysis Paper
read the requirements below and write a short paper based on the scene i provide
Note that this is not a description, and not a film review, but rather an interpretation of the scene’s role in the larger narrative of the film based on a formal interpretation. You’ll want to watch your scene over and over and place it in the context of the larger film, so you’ll need to get access via the library or on your own, in addition, of course, to coming all the screenings. Use the materials listed here to help you get started with your analysis.
Tips forWriting:
A sequence is a series of shots somehow connected logically in terms of:
- their common locale or setting; and/or
- their relation to one dramatic moment in the plot (i.e., a “scene”); and/or
- their common function in terms of furthering plot development or creating “atmosphere”; and/or
- their relation to some common theme or issue.
Once you have selected your sequence (from the ones provided on Canvas), watch it several times to note details of interest in the main areas of cinematic style: 1 – 4 below. As you watch and re-watch the sequence, take notes and expand on them with each additional viewing.
1 Mise-en-scene — the composition and content of the frame in terms of background scenery, actors, costumes, props, movement of people and objects in the frame, and lighting.
2 Cinematography — film stock; color, black/white, or tinting; lenses and changes in
focus (deep focus, shallow); camera angles (high/low/”straight-on”), camera movement (panning, tracking, zooms), framing; shot duration; distance of camera to objects (close-ups, medium close-up, medium long, & long shots).
3 Editing — shot transitions, logic of shot-to-shot relations; continuity editing
(establishing and re-establishing shots, shot/reverse shots, eyeline matches, reaction shots, flashbacks and flashforwards, ellipsis); abstract editing (graphic matches, rhythmic editing, jump cuts); intellectual and psychological montage.
4 Sound — music, speech, noise (music, dialogue, sound effects); diegetic vs.
non-diegetic sound (including voiceovers); synchronous vs. asynchronous sound; onscreen vs. offscreen sound; use of silence.
Use your “raw” findings to discuss the sequence and its relation to the film as a whole. Analyze the details of stylistic form (mise-en-scene, cinematography, editing, sound, etc.) by relating them to the narrative and thematic contentof the scene/sequence: that is, don’t just describe them, but try to determine their function in the sequence, for example: Why might these stylistic choices have been made? What do they seem to mean for the sequence and the film? How do these elements work together and/or determine each other? How does this interaction within the sequence relate to the film as a whole?
You will need to make connections between the technical and stylistic details you have isolated and:
1) 2-3 technical elements (relating to above – technical element is not one of 4 main areas of technique, but some specific technique, so not the too-general “cinematography” but rather “long shot”)
2) 2-3 narrative elements (“story”: plot and character development) and
3) thematic content (“message” with regard to political, social, religious issues, etc.) in the sequence
Note:You should use the new terminology you have learned (some of which is listed above) in describing the 2-3 techniques used in the sequence.
Warning:
Three common problems students have writing a sequence analysis:
1 They stick too closely to the narrative, merely re-telling the events within the sequence without enough analysis of what’s going on (stylistically, thematically)–and why. Remember: you are analyzing and writing for readers who have seen the film–you do not need to retell what happened!
2 Their discussion of the sequence has no overall argument about its significance within the film. Understanding how a scene/sequence contributes to/develops a theme of the film often helps here.
3 They attempt to describe as many stylistic elements as possible, instead of picking out a small number of those that have the most impact or significance (narratively and/or thematically) and using an analysis of them to interpret the sequence and its relation to the film as a whole.
Ultimately, to interpret a sequence you need to relate it to the film as a whole, so you have to start with some kind of idea about the film as a whole. You need to bring this understanding of the film as a whole to your attempt to analyze the sequence. Then, as you work with the sequence and understand it better, your understanding of the film as a whole will deepen–which in turn will help you see more in the sequence.
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