Product Description

One of the most popular thrillers of Alfred Hitchcock's middle years, Rear Window is now also recognised as one of the most brilliant demonstrations of the director's cinematic wizardry. Starring James Stewart and Grace Kelly, with Thelma Ritter and Raymond Burr in memorable supporting roles, the film centres on a photographer confined to a wheelchair in his apartment who, using binoculars, spies on his courtyard neighbours and witnesses a possible murder. Stefan Sharff, professor emeritus of Columbia University's film department, shows us how Hitchcock achieved the mounting excitement and fear that mark this film. The author first provides a detailed overview of the director's skill in developing the story from intriguing start to shattering climax. In the second part of the book, he goes on to a shot-by-shot analysis; using the film's continuity as his text, he describes how Hitchcock's technique accomplished its magic. Illustrated throughout with stills from the film, The Art of Looking is a unique appreciation of the art of Alfred Hitchcock, made even more valuable by the first publication in any form of the full dialogue of a screen masterpiece.

Product Details

• Amazon Sales Rank: #444104 in Books
• Published on: 1997-06-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 196 pages

About the Author
Stefan Sharff

Customer Reviews

"I love a funny exit line"
This is a book for those of us Hitchcock fans who have Rear Window as a personal favourite. It gives some really helpful breakdowns of the entire film into shots and points of interest. Not least it allowed me to check a few things that I had missed even after watching this film many, many times. The title certainly says it all as it considers in intricate detail what you see and what you are meant to see as part of the film. For example, its examination of Hitchcock's use of camera angle and long shot are particularly helpful.

I would still recommend that you look at the Cambridge Film essays on Rear Window as these give some interesting analyses of the film, including some rather startling sociological interpretations. This book is best read after looking at that and if you, like me, can hear Stewart's, Kelly's, Ritter's words in your ears as you read the analysis then you will have something to gain from this.

My interest in this film is great and so it is not surprising that I seize upon new information connected to it. Unlike its more popular alternatives of Psycho, Vertigo and North by North West, Rear Window has not had the accessible information available to us interested-amateurs that it deserves.

Remember, this is not a behind the scenes guide, it is not a set of essays (remember Cambridge), but it is a great scene by scene, shot by shot analysis for those who love this film anyway.