What is a shot, and how do you know when one is over and another is beginning?
Shots may be joined in two ways: gradually and instantaneously (i.e., a cut). List three gradual ways shots may be linked.
What is a graphic match?
What is an establishing shot?
A shot/reverse shot? An eyeline match?
What is cross-cutting (or parallel editing), and how does Hitchcock use it throughout Rear Window?
What is a montage, and how do you recall it being used in Citizen Kane? (HINT: think about Kane's first marriage.)
When does Spike Lee use overlapping editing in Do the Right Thing (i.e., cuts that repeat part or all of an action, thus expanding its viewing time and plot duration)?
What is continuity editing (a.k.a. invisible editing)?
Why do the majority of filmmakers want editing to be "invisible"? (HINT: Think about the word verisimiltude.)
What is the editing pattern most directors follow when it comes to setting up a scene?
List at least four ways that directors employ disjunctive (or visible) editing.
What is Soviet Montage, and when was it developed?
Rear Window (Alfred Hitchcock, 1954)
Like Alfred Hitchcock’s Psycho (1960), Rear Window (1954) is an exercise in voyeurism. How do the images behind the opening credits reinforce this?
How do the film’s opening shots establish Jeffries’s occupation? What props, images, etc. are we privy to that help construct his character?
From whose point of view is this narrative told? How do you know? And how does Hitchcock maintain this?
If we consider Jeffries’s apartment complex a microcosm of America (indeed, it is the only “world” we are allowed in the film), what cross-section of America are we given? Is anyone left out?
How many different ways are cameras and other objects-for-viewing used in this film? How do you know which of Jeffries’s POV shots use these sorts of devices and which do not?
It would seem that a film shot predominately from the confines of a man’s apartment would be boring. How does Hitchcock avoid this? (You don't find this film boring, right?!) How does he make the film visually interesting?
How are sex and love relationships treated in this film? (NOTE: There are images in this film that were risqué for the time period in which the film was released…)
Describe the relationship between Jeff and Lisa. When in the narrative does she finally become interesting to him?
Again, Rear Window is an exercise in voyeurism. At one point in the film, Stella argues, "We've become a race of Peeping Toms. People ought to get outside and look in at themselves." What do you think the director might be trying to say with this film?