Directed by Alfred Hitchcock
[0:26 - 2:17]
SOUND
Interestingly, most of thesound heard in this opening is non digetic. The soundtrack is highly percussive and climaxes at 1:25, before quieting down so that some enhanced digetic Foley can be heard. However, very little Foley is heard throughout this opening, apart form a cats meow and some birds. The music is parallel to the images, not threatening. There is no dialogue, which is very typical of a thriller.
CAMERA
The opening starts with a mid shot of three blinds opening. This creates a sense of mystery for the viewer, and raises the question, who's blinds are these? As the blinds rise we can see other buildings, birds and people walking in the street. The mid shot allows us to see this, setting the location for the rest of the film. Following this is a tracking shot in, to enhance the outside setting. From here, there follows a 38 second pan and tilt shot across the opposite building and courtyards. the panning shot pauses occasionally on specific windows, for grounding in the audiences minds that they will be of some importance. The pan ends on a big close up of protagonist Jeff's [James Stewart] face. The audience know know the answer to the question, who's apartment are we in? It is also at eye level, giving the impression of normal human viewpoint.
MISE EN SCENE
The naturalistic setting is typical of that of 1950's New York City.High rise buildings, close together with small courtyards for a rural feel. The proximity of the buildings suggests that the neighbours are close, or even friends. Yet the abundance of windows creates a sense of doubt in the audience, and they begin to wonder who is behind the curtains. The urban setting is typical of a thriller, but as for the lighting and colouring, although naturalistic, aren't as connected with thrillers. During the opening, we don't see any physical appearances.
EDITING
Even though editing is minimal, it is just as effective in creating mood. The slow pace created by so few cuts and the length in duration of individual shots is very poewerful There is only one cut, a fast straight cut, at 1:38. But after that the opening is just one smooth pan.
Hitchcocks Rear Window is completely contrapuntal to the stereotypical thriller film structure.
By Chloe Hobden
Even though editing is minimal, it is just as effective in creating mood, so you can't really say "very little is done" becuase the slow pace created by so few cuts and the length in duration of individual shots is very poewerful
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