It is not certain if Disturbia is homage or a remake to Rear Window, since the two movies are not exactly the same, but they are not very different either. While some might consider Disturbia to be a rip-off to Rear Window (Wilonsky 66), it is not the case here, since copying an idea as long as one does not copy its expression is not illegal. The reaction of the masses to Disturbia regarding the plagiarism involved in it is most probably owed to the film's success, since it is very probable for this condition to have been inexistent if the film were to make little to no money.
Caruso was right in bringing back the story present in Rear Window, considering that the fact that Disturbia does not put across factors like blood, gore, and scary scenes is particularly admirable. Instead, the movie concentrates on mood and tension, inducing a more sublime feeling on insecurity and terror in its viewers. At the time when Kale is inside Mr. Turner's garage, the audience virtually feels the adrenalin it believes is present in the character. If most people are let down by the critical comments this movie receives they are liable to change their minds consequent to seeing the movie and discovering that it is actually good. Contrasting each-other, Lebeouf and Morse both provide the public with a wonderful...
The woman, in this type of movie, becomes "isolated, glamorous, on display, sexualised" - which is how not only Miss Torso is presented in Rear Window, but also Lisa An example of this is Jeff's relationship with Lisa. In the beginning he does not really show any interest in Lisa. He is afraid to commit to her through marriage. Lisa's display of sexuality (a form of exhibitionism accented by her
Hitchcock was especially concerned about scenes where he could employ three-cornered arrangements involving sight, sound, and observers. This can be seen at the time when the protagonist in Rear Window, L.B. "Jeff" Jeffries (James Stewart), speaks over the phone with a detective friend and watches the antagonist, Lars Thorwald (Raymond Burr). Rear Window had a strong effect on film communities at the time when it appeared, considering that it presented them
Alfred Hitchcock has cast several actors in a few of his films. James Stewart, a favorite of Hitchcock's has been in "Rope," "Rear Window," "The Man Who Knew Too Much," and "Vertigo." He is and always has been an actor that grows with his characters. As the relationship between Stewart and Hitchcock grew, so did the character's he played, complexity. Stewart provided Hitchcock what few could in his life and
movie industry in America has been controlled by some of the monolithic companies which not only provided a place for making the movies, but also made the movies themselves and then distributed it throughout the entire country. These are movie companies and their entire image revolved around the number of participants of their films. People who wanted to see the movies being made had to go to the "studios"
Hitchcock even placed the camera behind the wheel of Scottie's car as he followed Madeleine around the city. In addition, Hitchcock uses the first-person technique to put the audience in the right mind frame of a suspense thriller. "Vertigo" ends in one of Hitchcock's most shocking, abrupt, and negative scenes. From Scottie's viewpoint: Madeleine! INT. CHURCH, SAN JUAN BAUTISTA -- DAY Scottie runs in, stops at the foot of the steps, hears
This ties closely with Hitchcock's belief that "dialogue means nothing" in and of itself. He explains, "People don't always express their inner thoughts to one another, a conversation may be quite trivial, but often the eyes will reveal what a person thinks or needs." Thus the focus of a scene within his movies never focuses on what actors say, but rather on what they are doing. Unlike a painter,
Our semester plans gives you unlimited, unrestricted access to our entire library of resources —writing tools, guides, example essays, tutorials, class notes, and more.
Get Started Now