英国代写：希区柯克式的电影分析与讨论

英国代写：希区柯克式的电影分析与讨论。希区柯克式的电影本身就有许多特点，比如气候情节的转折。当看《后窗》的时候，你可以说在观众想象杰夫的方式中有一个气候情节的转折。在某种程度上，看到杰夫的偷窥倾向，一个人不能帮助，但理解他的性格是有点不体面的。在当代社会，隐私已经成为一个几乎没有意义的问题。在公共场所，人们被摄像头监视，还有闭路电视警惕性等等。接下来英国代写专家将为同学们分析讨论下有关希区柯克式的电影。

一个人唯一的私人空间就是他们自己的房子，这部电影一开始就展示了Jeff的窥阴癖，这让观众以一种消极的方式来理解这个角色。在希区柯克风格的电影中，一些动作限制的出现是为了增加紧张感。例如，尽管他不得不去看别人的房子，杰弗瑞自己也受伤了，不能去帮助他的护士。同样，这部电影也包含了其他与希区柯克电影相关的方面，比如无能的权威人物，将隐藏区域作为危险的主题，等等。在影片中呈现出如此恐怖的背景，在某种程度上，杰夫的窥阴倾向与故事相吻合，而不是像在正常背景下表现出来的那样站在一边。

杰弗里斯的性格是以一种有趣的方式表现出来的。他是一名摄影师，专业倾向于在摄影时研究主题。如果他有批判和观察的眼光，这是他的职业的礼貌。他的职业为理解他在无聊时选择谁来观察人们(窥阴癖)提供了理由。然而，当他注意到邻居出了什么问题时，这种普遍的观察经历了快速的升级，导致他着迷并专注地跟踪邻居的行动。这样一来，他就破获了谋杀案。当他知道最终会找到凶手的时候，他选择了采取这种手段吗?答案是否定的，他只是在故事稍晚的时候才遇到了明显的谋杀情况。因此，当讨论偷窥倾向、手段的道德和目的时，有必要在佬司问题开始之前，在故事的第一部分和故事的第二部分中考虑它，后者最终以揭露谋杀而告终。

The only private space that a person has is their houses themselves and this movie starts off showing Jeff as indulging in voyeurism which makes the audience understand the character in a negative way. As with more Hitchcock style of movies, some of the action restrictions that follow are present to increase tension. For instance, although he is stuck with looking at other peoples’ houses, Jefferies himself is hurt and cannot go and help his nurse. Similarly, the movie carries other aspects relevant to Hitchcock movies like authority figures that are incompetent, usage of hidden areas as motifs for danger, and more. In presenting such a scary context for the movie, in some ways, the voyeurism tendencies of Jeff kind of fits in with the story and does not stand away as it would appear so in a normal setting.

The character of Jeffries is presented in an interesting way. He is a photographer and is professional disposed to study subjects while he photographs. If he has a critical and an observant eye, it is courtesy of his profession. His profession provides a reason to understand who he chooses to observe people (voyeurism) when he is bored. However, this general viewing undergoes a rapid escalation when he notices something amiss with a neighbor leading him to obsesses and follow the neighbor’s actions intently. In doing so, he unravels the murder. Did he choose to pursue the means knowing that a murderer will be identified in the end? The answer is no, he only comes across the apparent murder situation a little later into the story. Hence, when discussing the voyeuristic tendencies, the morality of the means and the ends, it is necessary to consider it in the scope of the first part of the story before the Lars issue starts, and the second part of the story which culminates in the unravelling of the murder.

 

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