(2007)? What cues & clues does Hitchcock give the viewer Rear Window?
How does Hitchcock play with audience expectation (pattern, structure) and how does he thus create suspense in the film?
How is Hitchcock a purely VISUAL filmmaker and what information is he presenting purely visually in Rear Window?
What is the viewer asked to do when watching Rear Window?
What does Hitchcock get away with in this film?
How is the viewer implicated as a VOYEUR in Rear Window? Are we taught to identify with Jeff or someone else? How or how not?
In these three films, how does the notion of TIME work (or not work)? Does time stop the narratives or move the narratives forward?
Does TIME work differently in the two versions of 3:10 to Yuma? If so, how so?
What are some of the compelling differences (other than 50 years time!) between the two versions of 3:10 to Yuma?
How is suspense created in both 3:10 to Yuma’s? How does this compare to the sort of suspense in Rear Window?
How does Hitchcock play with audience expectation (pattern, structure) and how does he thus create suspense in the film?
How is Hitchcock a purely VISUAL filmmaker and what information is he presenting purely visually in Rear Window?
What is the viewer asked to do when watching Rear Window?
What does Hitchcock get away with in this film?
How is the viewer implicated as a VOYEUR in Rear Window? Are we taught to identify with Jeff or someone else? How or how not?
In these three films, how does the notion of TIME work (or not work)? Does time stop the narratives or move the narratives forward?
Does TIME work differently in the two versions of 3:10 to Yuma? If so, how so?
What are some of the compelling differences (other than 50 years time!) between the two versions of 3:10 to Yuma?
How is suspense created in both 3:10 to Yuma’s? How does this compare to the sort of suspense in Rear Window?