perspective

Danielle 2022-03-24 09:01:02

In the climax of the film, Jeff used the camera flash against the neighbor who broke into the house, and wanted to recapture the neighbor as the image he was peeping through the rear window; the neighbor threw him out of the rear/real window (rear/real window); Isn’t this exactly what Hitchcock did to the audience? Let foreign objects in the real world pierce into the realm of imagination. This process is carried out through a series of "meta" structures in the film: whether it is the window frame suggesting the frame of the view, or the context of peeking and gaze-the lens often smoothly shifts from the first-person perspective to the third-person perspective. In terms of the reflexiveness of the suspense film, Jeff fell asleep at six o'clock on the day of the crime. The time gap is like the part of the interior that is not shown by the rear window, a stain; it not only suspends the truth, but also constitutes it. The "reality" itself; this stain is then the fulcrum of all actions, a membrane that connects desire and law. Of course, just like all Hollywood ends with a happy ending, Jeff finally sat back home and admired the peaceful view of the neighborhood in the rear window; in order to assure the audience of the daily routine outside the theater.

Mathilde 2022-03-26 09:01:01

2016.6.30 Rewatch. Grace Kelly looks good no matter what she wears, especially the first set. "Blow-Up-1966" is exactly this foundation. Although one window and one thing are interesting, now I feel that everyone is acting in front of the window. In the next 30 minutes, even when I look at it now, I feel the same as I did when I was a child, and my heart touches my throat.