Analysis on Various Topics

A clinical and compelling 1954 thriller, Rear Window by Alfred Hitchcock is a film set in Greenwich Village, New York during a deathly hot heatwave. Although upon first inspection, the film appears to be a murder mystery, there are however, undercurrents of dependency in all its facets. The director uses a range of relationships to reinforce the cultural norms that women are dependent on men for emotional satisfaction. However, more importantly, Rear Window also challenges these societal expectations and instead reveals that men are dependent on women in some cases. In addition, Hitchcock also includes independent women who suggest that satisfaction is possible without men. 

Hitchcock reinforces the 1950s societal norm that women are dependent on men for happiness, through relationships. Rear Window highlights the emotional reliance, through Lisa and Jeff’s relationship. Jeff’s adamant refusal that Lisa is ‘too sophisticated’ and ‘too beautiful’ to be ‘what [he] wants’, forces Lisa, who is desperately ‘is in love with [him]’ to change for his sake. The director demonstrates this through a gradual costume change from a fancy ‘eleven hundred pounds’ dress to functional pants and plain shirt. In addition to that, her body language also transitions from graceful and ethereal movements to the aggressive and unrefined action of scaling Mr Thorwald’s apartment, and thereby becoming ‘a woman who's willing...to go anywhere and do anything’, Jeff’s ideal woman and therefore allowing her to begin a relationship and be satiated, as evidenced by the close up shot of the smile on her face at the end of the movie, emphasising the emotional satisfaction. Furthermore, Hitchcock demonstrates that women are economically dependent on men, through the Thorwalds. As Mrs Thorwald is confined to her bed, it is inferred that Mr Thorwald is the sole provider of the household. Through the continued confinement of Mrs Thorwald until her death, the director reveals the fatal dependency of women and highlights the inability to escape from such situations. Moreover, Hitchcock also demonstrates that women are reliant on men for social connection through Miss Lonelyhearts. At the end of the film, she is seen in the Composer’s apartment, clearly enjoying the company as evidenced by the camera focus on the smile that she wears. In addition to that, the denouement is the first instance in the film where she is seen not wearing her trademark emerald coat, a symbol of her envious search for love and connection and instead is wearing a floral patterned, light green shirt which bears more resemblance to the costume of other women in Rear Window and hints she has finally been emotionally satisfied. Furthermore, geographically she has moved from the lowest level to the highest level, reinforcing that she is an example to aspire to in the social expectations of 1950s America and that she has gained fulfilment. Ultimately, the director depicts the reliance of women on men for emotional satisfaction within some relationships.

Hitchcock also criticises the expected cultural norm by including non-traditional role reversal of genders, thereby portraying that men are reliant on women. Jeff, the embodiment of the emasculated man, relies on women for his physical upkeep. Lisa brings Jeff dinner, implying that, in his current state, Jeff is seen as vulnerable, as evidenced by the difference in height between them and corroborated by the well-lit high angle shot that conceals nothing. In addition to this, Jeff is viewed as incapable and the audience is constantly reminded of this through the wheelchair and the cast on his leg that he has been 'sitting in a two-room apartment' for 'six weeks'. Ultimately, through the interaction between Jeff and Lisa, he represents that emasculated men must rely on women. Rear Window also exposes the sexual gratification that men receive from women, through the male gaze. Most prominently is the objectification and dehumanisation of Miss Torso. The label that Jeff gives her: 'Miss Torso' is indicative of that, emphasising that the only defining feature of importance, is her body. The cross cut to a close up on his expression emphasises the lustful leer on his face, the utter pleasure that he derives. Miss Torso is viewed as a sexual object by the three men as well as Jeff. The men's jeers towards Miss Torso are audible across the courtyard and leers evident in their body language. In addition, the man violently forced a kiss onto her, resulting in them being ushered out of the house, reinforcing the fact that men gain sexual pleasure from women with no regard to the woman's wishes. Moreover, like Miss Torso, Miss Lonelyhearts invited a man into her house, almost immediately he forced a kiss on her. From her violent refusal, it is evident that the man did not care for her want of a romantic and emotional relationship, previously established by her one-man act of a fancy dinner and sitting in the café at a table that seats two while constantly looking at the door. Therefore, Rear Window reveals the gaining of sexual pleasure even to the detriment of women but he simultaneously through omission depicts how this pleasure is one-sided and thus creates a dependency from the man onto the woman. Indeed, Hitchcock ultimately disproves the stereotype of women are dependent on men in every way and instead reveals the reality that men are reliant on women in certain and mostly sexual circumstances.

Hitchcock also challenges the traditional cultural norms, through depiction of independent women.  The director characterises Lisa as a versatile and hard-working woman, that attends ‘sales meetings’, has ‘quick drinks [about]…spy reports’ and meetings with ‘Leland and Slim Hayward…to get his next show’. Indeed, Hitchcock emphasises the gruelling demands of her occupation, exposing to the audience the capability of women and overall. he endorses the working woman. However, Jeff’s disdainful and harsh dismissive words combined with the close-up shot on his face encapsulates and embodies the judgement of society on Lisa, and by extension, working women. The director simultaneously condemns such judgements by portraying Lisa to be unfairly treated, which is indicated by the shift in focus to capture her stricken expression. Moreover, considering her job, and the mention of ‘[her own] apartment’, Hitchcock implies that Lisa is financially independent and therefore is not economically dependent on men. Likewise, the Sculptress also lives alone and in fact her house is of roughly the same size as every other occupant’s in the apartment complex, revealing that economically-wise, she is not disadvantaged in any way by a lack of male presence in her life. Furthermore, unlike the ideal and typical 1950s woman, she is not observed house cleaning or caring after a husband. Through this, Rear Window challenges a women’s traditional role in society. Moreover, her mannerisms are also quite abrasive and combative – traits associated with men, as evidenced by Mr Thorwald’s cutting jabs at the Sculptress when she advised him about his flowers. In addition, through her standing upon the stairs, while Mr Thorwald is on the ground, Rear Window reveals her having more power than men. Furthermore, the camera focuses and tracks her movement, further highlighting her power and supporting Hitchcock's portrayal of women in post-war America. Therefore, Hitchcock supports the changing of cultural norms in 1950s America to give power and independence to women.

The novel The Great Gatsby by F. Scott Fitzgerald is a cautionary tale on the failure of the American Dream. The three passages discuss the consequences of the American Dream and the social hierarchy present in 1920s America.

 The ‘seemingly’ ‘irresistible’ American Dream ‘assures’ one that, no matter their social standing, they can rise to the top. However, upon scrutiny, it is blatantly obvious that the opposite is true, and it is apparent that the American Dream becomes ‘less and less real’. As illustrated through George Wilson, who was an unfortunate victim, showing symptoms of mental instability such as ‘rocking himself back and forth’.  Indeed, Fitzgerald asserts his opinion that the American Dream can have ‘tragic’ effects. Moreover, the use of the word ‘dawn’ in relation to George Wilson signifies the start of his quest to kill Gatsby and ‘sunset’ is used to describe the aristocracy. The irony in this is that nothing will change for the proletariat and that the death of Wilson and Gatsby was pointless. There was no change in the overall state of America and the lives of the bourgeois will continue without disruptions. Another glaringly obvious statement that Fitzgerald makes, is that the American Dream is ‘hopeless’ and has ‘broken’ the middle class letting them labour under the belief that they can climb the social hierarchy. Despite their hardworking efforts, their social standing does not ‘chang[e]’ and in addition, by setting the events that concern Myrtle Wilson at ‘midnight’, Fitzgerald declares that the other half is a ‘shame’ on the American Dream, something to be hidden away, a ‘dark spot’ on America. Through George Wilson, the binary opposition of the ‘dawn’ and ‘sunset’ and the workers, Fitzgerald condemns the notion of the American Dream.