Observation is the most prevalent theme displayed in the film Rear Window (1954). As such, the aesthetics chosen by the director emphasize the altered gender roles of Jefferies and Lisa. The film’s editing techniques contribute to these roles; a series of point-of-view and shot/reverse shots exhibit Jefferies feelings of confinement in the scenes “Lisa” and “Something’s Wrong.” The sound techniques used, such as off-screen diegetic sound, echo Jefferies’ preoccupation with what’s going on in his own backyard, instead of his relationship with Lisa. The aesthetics of cinematography used highlight the switch of gender role due to Jefferies temporary confinement to a wheelchair. The abundance of camera pans reflect Jefferies’ point of view. The combination of these techniques communicates the emasculation of Jefferies and displays his infatuation with the world around him.
The editing techniques in the scene “Lisa” contribute to the reverse gender roles of Jefferies and Lisa. The shot/reverse shot of the two discussing Jefferies’ career calls attention to the change of dominance in their relationship. Lisa wants Jefferies to remain in New York as a fashion photographer. This requires a new image and identity of Jefferies that contrasts his lifestyle of a globetrotting action photographer. Jefferies is not particularly fond of this idea. Jeffries fear of commitment leads him to direct his attention to the outside world. While Lisa prepares their dinner in the background, Jefferies is more interested in the lives of his neighbors than his relationship with her. The eye line match of Jefferies looking at Miss Lonelyheart’s apartment as she sets a table for two signifies his own loneliness and impassiveness of his involvement with Lisa.
Editing techniques play a vital part to the reverse of gender roles in “Something’s Wrong.” In Film Art masking is used to exemplify how filmmakers experiment with image shapes within a rectangular frame; “by attaching...
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