Hitchcock's Rear Window: The Well-Made Film

Fawell, John

ISBN 10: 0809324008 / ISBN 13: 9780809324002

Published by Carbondale, Illinois: Southern Illinois University Press, 2001

About this Item

First edition. Number line beginning with 1. Date line beginning with 01. Near fine plus, if not fine 173 page hardback in near fine plus, if not fine unpriced, unclipped dust jacket. Only trivial signs of age/wear/previous use to book and dust jacket.

Seller Inventory # 107640

Bibliographic Details

• Title: Hitchcock's Rear Window: The Well-Made Film
• Publisher: Carbondale, Illinois: Southern Illinois University Press
• Publication Date: 2001
• Language: English
• ISBN 10: 0809324008
• ISBN 13: 9780809324002
• Binding: Hardcover
• Edition: 1st Edition
• Condition: Near Fine
• Dust Jacket Condition: Near Fine
• Seller catalogs:
  • Theater, Film, Music, & Dance
  • Mystery/Suspense/Thrillers
  • Cinema

About this title

Synopsis

In the process of providing the most extensive analysis of Alfred Hitchcock’s Rear Window to date, John Fawell also dismantles many myths and clichés about Hitchcock, particularly in regard to his attitude toward women.

            

Although Rear Window masquerades quite successfully as a piece of light entertainment, Fawell demonstrates just how complex the film really is. It is a film in which Hitchcock, the consummate virtuoso, was in full command of his technique. One of Hitchcock’s favorite films, Rear Window offered the ideal venue for the great director to fully use the tricks and ideas he acquired over his previous three decades of filmmaking. Yet technique alone did not make this classic film great; one of Hitchcock’s most personal films, Rear Window is characterized by great depth of feeling. It offers glimpses of a sensibility at odds with the image Hitchcock created for himself―that of the grand ghoul of cinema who mocks his audience with a slick and sadistic style.

Though Hitchcock is often labeled a misanthrope and misogynist, Fawell finds evidence in Rear Window of a sympathy for the loneliness that leads to voyeurism and crime, as well as an empathy for the film’s women. Fawell emphasizesa more feeling, humane spirit than either Hitchcock’s critics have granted him or Hitchcock himself admitted to, and does so in a manner of interest to film scholars and general readers alike.

   

About the Author

John Fawell is an associate professor in the Department of Humanities at the College of General Studies, Boston University. He writes widely on film and literature, covering everything from classical literature to filmmakers such as Hitchcock, Jacques Tati, Eric Rohmer, and Blake Edwards.