Analysis on Rear Window: A Triple-Dimensioned Voyeuristic Hierarchy | 影片《后窗》解析：三重维度的窥视层级
    The film endows the act of looking with a sense of power and control. The essay argues that throughout the development of the plot, Hitchcock gradually builds up an organic visual-power hierarchy, from top to bottom, the dimension of audience, the dimension of Jeff the voyeur, and the dimension of Lars and the neighbors who are peeped at.The essay focuses on the scene in which Lars Thorwald, the salesman who murders his wife, found out Jeff’s knowledge about his crime through Jeff’s voyeuristic POV. The scene serves as a turning point between the previous nine-tenths methodical construction of visual-power hierarchy and the latter one-tenth turbulent destruction. It is a perfect example of Hitchcock’s insightful understanding of psychology and ingenious manipulation of mise-en-scene. 

    《后窗》赋予观看行为一种权利感与控制感。文章论证随着剧情推进，希区柯克逐渐建立起一个有机的视觉权力层级，从上到下为，观众的维度，偷窥者Jeff的维度，被偷窥邻居与Lars的维度。文章重点分析谋杀妻子的销售员Lars发觉Jeff偷窥到他的罪行的一幕。这一幕通过Jeff视角传递给观众，是位于电影九分之十时长的转折点，颠覆前面对于视觉权力层级的井然有序的建立，承接影片高潮对于视觉权力层级的混乱的颠覆。体现了希区柯克对于心理学的洞见与巧妙的导演设计。