|
gptkbp:instance_of
|
gptkb:anthology
gptkb:film
|
|
gptkbp:adaptation
|
gptkb:film
critically acclaimed film
|
|
gptkbp:adapted_into
|
gptkb:film
|
|
gptkbp:art_style
|
gptkb:Michael_Shaw
|
|
gptkbp:artist
|
gptkb:Kazu_Hiro
|
|
gptkbp:awards
|
gptkb:BAFTA_Award_for_Best_Film
gptkb:National_Film_Registry
gptkb:Audience_Award
gptkb:Best_Actor
gptkb:Best_Actress
gptkb:Best_Cinematography
gptkb:Best_Director
gptkb:Best_Editing
gptkb:Best_Original_Score
gptkb:Best_Production_Design
gptkb:Best_Visual_Effects
gptkb:0
gptkb:4
gptkb:Best_Art_Direction
Best Sound
Best Feature Film
Best Costume Design
Best Ensemble Cast
Best Special Effects
Best Casting
Academy Award nomination for Best Adapted Screenplay
Best Makeup
Academy Award nomination for Best Director
BAFTA nomination for Best Film
Best Stunts
|
|
gptkbp:based_on
|
gptkb:It_Had_to_Be_Murder
Rear Window (1954 film)
|
|
gptkbp:box_office
|
$10 million
$36 million
|
|
gptkbp:budget
|
$20 million
|
|
gptkbp:character
|
gptkb:Stella
gptkb:Lisa_Fremont
gptkb:L._B._Jeffries
Jeff's neighbors
|
|
gptkbp:character_appearance
|
gptkb:Michele_Clapton
|
|
gptkbp:character_arc
|
from passive to active
from skeptical to supportive
|
|
gptkbp:character_development
|
Jeff's transformation
|
|
gptkbp:character_relationships
|
Jeff and Lisa
|
|
gptkbp:cinematography
|
gptkb:Robert_Burks
gptkb:Thomas_Yatsko
|
|
gptkbp:climax
|
confrontation with the murderer
critical to resolution
|
|
gptkbp:color
|
gptkb:Technicolor
|
|
gptkbp:complications
|
broken leg
|
|
gptkbp:conflict
|
suspicion of murder
|
|
gptkbp:country
|
gptkb:United_States
|
|
gptkbp:critical_reception
|
Highly acclaimed
mixed reviews
well-received
highly acclaimed
|
|
gptkbp:cultural_impact
|
Considered a classic
considered a classic
influenced later thrillers
influenced many films
|
|
gptkbp:cultural_references
|
Referenced in various media
|
|
gptkbp:cultural_significance
|
iconic status in suspense genre
|
|
gptkbp:design
|
gptkb:Michael_Shaw
|
|
gptkbp:directed_by
|
gptkb:Alfred_Hitchcock
|
|
gptkbp:director
|
gptkb:Kerry_Barden
gptkb:Alfred_Hitchcock
gptkb:M._Night_Shyamalan
gptkb:Michael_J._O'_Connor
|
|
gptkbp:distributor
|
gptkb:Walt_Disney_Studios_Motion_Pictures
|
|
gptkbp:edited_by
|
gptkb:Maryann_Brandon
gptkb:George_Tomasini
|
|
gptkbp:editor
|
gptkb:George_Tomasini
|
|
gptkbp:ends_at
|
resolution of the conflict
|
|
gptkbp:film_festival
|
gptkb:Toronto_International_Film_Festival
|
|
gptkbp:filming_location
|
gptkb:Paramount_Studios
gptkb:Borough
gptkb:Los_Angeles
New York City apartment complex
|
|
gptkbp:filmography
|
gptkb:Symbolism
gptkb:Maryann_Brandon
gptkb:church
gptkb:George_Tomasini
Close-ups
Use of color
Use of sound design
Editing style
Use of sound
Character perspective
Use of lighting
Suspense building
Single location filming
Rear Window (1954 film)
Single location setting
Character development through observation
Point of view shots
Symbolism of the window
|
|
gptkbp:genre
|
gptkb:Thriller
gptkb:mythological_figure
gptkb:film
suspense
#48
#3 in Mystery
|
|
gptkbp:has_gameplay_element
|
gptkb:Photographer
|
|
https://www.w3.org/2000/01/rdf-schema#label
|
Rear Window
|
|
gptkbp:influenced
|
gptkb:Disturbia
gptkb:television_series
gptkb:The_Woman_in_the_Window
gptkb:The_Conversation
gptkb:Body_Double
Many filmmakers
many filmmakers
|
|
gptkbp:influenced_artists
|
inspired writers
|
|
gptkbp:influenced_by
|
gptkb:German_Expressionism
film noir
|
|
gptkbp:inspiration
|
gptkb:Alfred_Hitchcock's_Rear_Window
Real-life events
real-life events
Various TV shows
|
|
gptkbp:is_compared_to
|
Jeff and Lisa
|
|
gptkbp:is_decorated_with
|
gptkb:Michele_Clapton
|
|
gptkbp:is_featured_in
|
gptkb:AFI's_10_Top_10
gptkb:AFI's_100_Years...100_Movies
Sight & Sound's Greatest Films of All Time
|
|
gptkbp:is_motivated_by
|
curiosity
|
|
gptkbp:language
|
English
|
|
gptkbp:last_appearance
|
confronting the murderer
|
|
gptkbp:legacy
|
Referenced in popular culture
Studied in film schools
Influenced the thriller genre
Influential in the thriller genre
|
|
gptkbp:literary_devices
|
unreliable narrator
|
|
gptkbp:main_character
|
gptkb:Photographer
gptkb:L._B._Jeffries
Jeff Jeffries
|
|
gptkbp:mission
|
risking her safety
|
|
gptkbp:motif
|
isolation
|
|
gptkbp:music
|
gptkb:Franz_Waxman
|
|
gptkbp:music_by
|
gptkb:James_Newton_Howard
gptkb:Franz_Waxman
|
|
gptkbp:narrative_style
|
suspense
first-person perspective
internal vs external
|
|
gptkbp:notable_appearance
|
The opening sequence
The climactic confrontation
The final shot
|
|
gptkbp:notable_inductees
|
gptkb:Academy_Award_for_Best_Adapted_Screenplay
gptkb:Academy_Award_for_Best_Director
|
|
gptkbp:notable_quote
|
" I can’t see you, but I can hear you."
" I’m not a peeping Tom!"
" We’ve become a race of cowards."
" What a way to spend a summer!"
" You’re not going to let me in on this, are you?"
" I can't stand the suspense!"
" You don't know the meaning of the word!"
" I can’t see you, but I can hear you!"
" We’ve become a race of peeping Toms!"
" You don’t know the meaning of the word!"
|
|
gptkbp:notable_story_arc
|
investigating the neighbor
|
|
gptkbp:par
|
gptkb:Family_Guy
|
|
gptkbp:parody
|
gptkb:television_series
gptkb:Family_Guy
|
|
gptkbp:plot
|
A man believes he has witnessed a murder.
|
|
gptkbp:plot_twist
|
action vs inaction
neighbor's activities
revelation of the murderer's identity
|
|
gptkbp:premiere
|
gptkb:film_festival
gptkb:2007_Toronto_International_Film_Festival
|
|
gptkbp:premiered_on
|
gptkb:film_festival
|
|
gptkbp:produced_by
|
gptkb:Paramount_Pictures
gptkb:Alfred_Hitchcock
|
|
gptkbp:production_company
|
gptkb:Paramount_Pictures
gptkb:Touchstone_Pictures
|
|
gptkbp:published_by
|
Dime Detective Magazine
|
|
gptkbp:published_year
|
gptkb:1942
|
|
gptkbp:rating
|
PG-13
|
|
gptkbp:release_date
|
September 1, 1954
August 31, 2007
|
|
gptkbp:release_year
|
gptkb:1954
gptkb:2007
|
|
gptkbp:released
|
gptkb:DJ
gptkb:film
|
|
gptkbp:released_in
|
gptkb:1954
gptkb:United_States
|
|
gptkbp:remake
|
gptkb:Rear_Window_(2007_TV_film)
A Place to Call Home
Rear Window (2007)
|
|
gptkbp:resolution
|
acceptance of his limitations
|
|
gptkbp:role
|
love interest
|
|
gptkbp:runtime
|
75 minutes
112 minutes
|
|
gptkbp:screenplay_by
|
gptkb:John_Michael_Hayes
gptkb:M._Night_Shyamalan
|
|
gptkbp:set_in
|
gptkb:Borough
|
|
gptkbp:setting
|
gptkb:Borough
urban apartment complex
|
|
gptkbp:soundtrack
|
gptkb:James_Newton_Howard
gptkb:Franz_Waxman
|
|
gptkbp:speed
|
tension-filled
|
|
gptkbp:starring
|
gptkb:Thelma_Ritter
gptkb:Wendell_Corey
gptkb:Jesse_Metcalfe
gptkb:Grace_Kelly
gptkb:Rachael_Taylor
gptkb:Diana_Agron
gptkb:James_M._Stewart
|
|
gptkbp:stealth_features
|
physical and emotional
|
|
gptkbp:symbolism
|
windows
|
|
gptkbp:technique
|
foreshadowing
|
|
gptkbp:theme
|
gptkb:Isolation
Suspicion
voyeurism
Voyeurism
|
|
gptkbp:themes
|
gptkb:Isolation
gptkb:Love
gptkb:jealousy
Suspicion
isolation
suspense
voyeurism
Voyeurism
morality of observation
|
|
gptkbp:threats
|
confronting the murderer
|
|
gptkbp:viewpoint
|
limited omniscient
limited by his injury
|
|
gptkbp:visual_effects
|
gptkb:Michael_F._Mc_Gowan
gptkb:Rising_Sun_Pictures
|
|
gptkbp:written_by
|
gptkb:Cornell_Woolrich
|
|
gptkbp:bfsParent
|
gptkb:Alfred_Hitchcock
|
|
gptkbp:bfsLayer
|
3
|