Limited and Flat Space in Rear Window

Limited and Flat Space in Rear Window

By: Cassie Galonsky

The film Rear Window, directed by Alfred Hitchcock, uses different types of space to convey the story that he is telling.  The film is shot with space in mind to create different feelings for the audience. Limited space and flat space are both used at different points, in order to portray different things.  The majority of the film is told through the eyes of L.B. Jeffries, or Jeff, a freelance photographer who has been confined to his apartment as his broken leg heals. Alfred Hitchcock uses the opportunity to demonstrate to the audience his confinement with the different types of space.  

During the course of the story, Jeff observes the actions of his neighbors through his open window.  One day, he sees a series of events that leads him to believe that one of his neighbors, Thorwald, has murdered his wife after her unexplained disappearance.  He enlists in the help of his girlfriend, Lisa, who sneaks into Thorwald’s apartment, and is subsequently caught. After seeing Lisa signal to someone, Thorwald spots Jeff at his window.  Lisa is arrested and Thorwald makes his way up to Jeff’s apartment and pushes him out of the window. The police arrive and immediately arrest Thorwald, who quickly confesses. The film ends a few days later, with Jeff sitting in his apartment, now with two broken legs.

The film fluctuates between flat and limited space.  The apartment that Jeff is stuck in is a large example of flat space.  To the audience, the room looks cramped and small, the exact feeling that Jeff has.  Because he is confined to his apartment and unable to leave, it is almost like he is trapped in a box.  Flat space creates a sense of entrapment where the character cannot move very far. This is what Jeff feels while he is in his room.  

Outside his window, however, is a different story.  There is a stark contrast between the apartment room and the courtyard that Jeff can see.  There are alleys, windows, and sidewalks creating a much more open sense of space. This is a very important contrast because it creates the feeling of openness and freedom that the apartment room lacks.  This causes the audience to feel a certain way without even necessarily realizing it. There are buildings in the background which show that there is more beyond the confinement of the courtyard. The space, however, is limited instead of deep because we don’t know just how far scene goes.  The courtyard is still sheltered from the open space by the buildings around it, but there is also the possibility of freedom compared to the room that Jeff cannot leave.

Right from the beginning of the film, the contrast between flat and limited space is very evident.  During the opening credits, the film shows a shot of blinds covering a window creating a flat affect, almost like a screen.  Slowly, the curtains rise to reveal the courtyard below. There are people walking down the paths, cars driving by in the distance, and neighbors who can be seen from their windows.  Right off the bat, it is very easy to see a large contrast.

Throughout the course of the film Rear Window, Alfred Hitchcock makes continuous and conscious decisions about the space in the film in order to invoke different responses from his audience.  Hitchcock makes them think and feel a certain way without them even knowing that it is happening. This is true whether the scene takes place in the apartment room, or even his own cameo in the film through the windows of another building.  Alfred Hitchcock captures the feelings of the main character, and articulates them to the audience.