This analysis will be conducted on this scene from Alfred Hitchcock’s RearWindow (1954)

Situated at the climax of the film, this scene depicts L.B. Jefferies (James Stewart) attempting to defend himself from his neighbour, Lars Thornwald (Raymond Burr), after the latter discovers that Jefferies has been witness to his crimes over the course of the film.

The first shot is a medium close up of Jefferies, as he notices that the lights in Thorwald apartment are out. This is indicated to us by a follow up shot of Thornwald’s seemingly empty home. The film then returns to the same medium close up of Jefferies, who quickly answers a telephone as it rings, revealing that he believes that Thornwald has left his apartment.  When there is no response on the other end of the line, and he hears the line go dead, Jefferies realises that the caller is not the person he expected it to be. To demonstrate the danger of this slip up, which reveals to Thornwald that he is indeed being spied on, Hitchcock utilises a slow zoom in on Stewart’s face, ending the shot in a close up frame. Jefferies does not realise what he has just revealed until, after momentarily seeming confused, he glances over at the neighbouring window, and as Stewart conveys the fear of the character, the camera begins it’s zoom. This tightening of the frame in conjunction with the character’s enlightenment helps to convey the importance of the mistake that has just occurred.

Hearing a noise in the hallway, Jefferies turns to look at his front door. This is followed by a shot of light seeping through under the door frame, from the point of view of the main character. This shot is important, not just because it shows us what the character is specifically looking at, but because it subtly indicates to the viewer that this doorway will be important in the scene. This is where the attacker will enter. Had this shot not been included in the final cut of the film, the doorway would not have been set up well prior to Thornwald entering, and would not give the audience an indication of the space in which the scene will unfold. Without this shot, the scenario may have also been made to look as if Jefferies is just over paranoid about a sound of someone passing through his building. The shot of the door in conjunction with Jefferies’ fear signals that the character is not safe from whatever lurks behind it.

We then return to a shot of Jefferies, but this time from a high angle, close up. We are reminded of the severe disadvantage that the character is at when it comes time to fight his attacker, as he slowly and smoothly turns towards the door in his wheelchair. The high angle shows Jeff’s lack of power in the the impending confrontation. The scene again cuts back to the doorway, further building tension and suspense. A eye level mid shot of Jeff in his wheel chair follows, again stressing the character’s disability. This shot continues, with the camera being raised up and tilted down as Jefferies struggles to make his way across his apartment. The awkward maneuvering of the wheelchair around the room is displayed in this and the subsequent shots, proving that without the presence of Lisa or Stella, he is truly alone and defenseless.

Returning to a shot of the doorway again, we hear a switch flick and the light coming from underneath the door disappear. The tension built up in response to prior shots of the doorway is now justified. After returning to a shot of Jefferies as he backs away from the door in concern, we are treated with a close up of his camera flash as he places disposable light bulbs onto his lap. Similarly to the recurring shots of the doorway, Hitchcock is telling us that this item will be integral, and that we should make note of it’s presence.

Using close ups of important objects signifies the necessity of these items within the scene, and ensures that their presence isn’t only just recognized when they are used. For example, without the added close up shot of the camera flash on Jefferies’ lap, it’s presence may have felt coincidental when it is finally used. These care and time taken to include these extra snippets take us through the thought processes of the character as he prepares a measly defense.

It is in these final few shots that the use of lighting becomes especially prevalent. Jefferies returns to his position at the window, hiding in the shadows. Yet his broken leg remains lit, a last reminder of his weakness and the cause if this whole scenario. As the doorway slowly creeps open revealing a portion of Thornwald’s face, lit in the darkness, we view him from a low angle, again reinforcing his dominance in this confrontation.

During this scene, Hitchcock masterfully paces the shots and creates a feeling of claustrophobia in the small apartment. The dark lighting emphasizes the small space, only shedding small portions of light into the room. We, like Jefferies, feel truly trapped and helpless to the impending danger.