Rear Window and the Representation of Gender
For this piece I intend to look at the representation of gender within the film Rear Window (Hitchcock, USA,1954) and how this relates to moral and social ethics of both the present day and when the film was made.In Rear Window, the representation of femininity, is a traditionally misogynist point of view for the bulk of the film. From the opening scenes, it is instantly apparent that Hitchcock is indulging in a typical male fantasy of voyeurism. One of the first shots we see, is that of Miss Torso, aptly named by Stewart's character due to her constant dancing and parading around in her apartment in little clothing. The very moniker itself, Miss Torso, can be perceived as a metaphor for Hitchcock's allegedly misogynist nature, alluding to an underlying meaning that can be interpreted as a woman is no more than a body, and is only there for the pleasure of men. The voyeur element is again apparent very early on, when two women are seen to be removing their tops to sunbathe, and a helicopter looms above, giving the pilot the perfect view of what is below. From this, the camera pans across a array of photograph's, obviously taken by Stewart's character, Jefferies, immediately conjuring up images of Jeffries action man
An attempt to recognise the changing views, in regards to feminism, at the time, is made, but is quickly brushed aside. She may not have Lisa's looks, but she is intuitive, intelligent, loving and loyal, all qualities which Lisa too, possesses. The two women are not in the film together until both have started to believe in Jeffries murder theory, as both begin as sceptics. After seeing the Jeffries action photo's, a negative image in a picture frame, is seen, followed by the colour equivalent, on the cover of a magazine. On his first visit to Jeffries apartment, we see Doyle leering across at Miss Torso, and it takes Jeffries asking how Doyle's wife is to snap him out of it. The third facet is an extension of the second, as deep down, Jeffries does not believe he is good enough for Lisa. " To which Stella replies, "She'll end up fat, alcoholic and miserable. When trying to convince him of this, she exclaims, "When two people love each other, they come together - WHAM- like two taxis on Broadway. " This is greeted with an exceedingly derogatory comment on the position of women in society, when Lisa responds, "I meant the kitchen. " This is countered and swiftly disregarded by Jeffries in his response, "Maybe in some high rent districts, but in my neighbourhood, they still nag. What does come, as somewhat of a surprise however, is the role reversal that is demonstrated at the end of the film. His dominant male attitude is again displayed when he says to Lisa, "Look, Miss Fremont, that feminine intuition stuff sells magazines, but in real life, it's still a fairy tale. Throughout the picture, Jeffries tries to project an image of being an all action, rugged kind of guy, but with his incapacitation, it is left to the females to jump into the fray, and execute all the dangerous tasks, in trying to prove Thorwold's guilt. As an extension of the point I made above, with Stella being an older version of Lisa, we see the two women working together in Thorwold's garden, standing close to each other in Jeffries apartment and generally getting on well with each other throughout the later part of the film.
Common topics in this essay:
Miss Torso,
Jeffries Lisa,
Jeffries Lisa's,
Grace Kelly,
Miss Lonelyheart,
Stella That's,
Lisa Lisa's,
Rear Window,
Miss Fremont,
Jeffries Hitchcock,
miss torso,
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jeffries apartment,
film rear window,
doyle leering,
jeffries hitchcock,
jeffries action,
apartment doyle,
feminine intuition,
negative image,
jeffries apartment doyle,
apartment doyle leering,
visit jeffries apartment,
visit jeffries,
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Acceptance Essays
