Voyeurism is undoubtedly the most recognizable feature in Hitchcock ivies, similarly addressed in each movie in the form of an assault, where the audience’s dimension of voyeurism feels somewhat compromised as the characters of each movie are poetically punished for their voyeurism following an eloquent, skin crawling suspense, causing both the audience and characters to reflect and question the voyeurism we are somewhat predetermined to do. In Rear Window, the protagonist infers that the salesman across the street has killed his wife after spending an inordinate amount of time observing his neighbors for his own leisure.
Unwittingly, the audience gains pleasure from watching others too. When the protagonist is ultimately attacked by the person he is watching, this can be construed as the director attacking the audience’s voyeurism, leading to suspense. The fear of the protagonist being attacked creates suspense, since, similarly to the incapacitated protagonist who can only watch, the audience is forced to watch, both being unable to act. A common, albeit subtle theme found in The Birds is the incessant bird watching, by both the characters and the audience.
The voyeur’s tools (eyes) being destroyed by their subject serves as a commentary on the audience’s voyeurism. Shots of birds flying at and attacking the screen give the impression the voyeuristic audience being attacked. This is another example of voyeurism being associated with suspense, the primary element for which Hitchcock is known and which contributes to his widespread reputation as an auteur. In Psycho, Norman Bates (and concordantly the audience) watches Marion undress in a stereotypical voyeuristic manner.
The famous shower scene begins with an extreme close-up shot of the killer’s eye as he watches Marion behind the shower curtain and the anticlimactic antecedent of Marina’s open eye in the shower, demonstrating the punishment that entails voyeurism similar to what is found in The Birds, where the tool used for voyeurism is focused on. Not only did this punishment follow from Normal’s grotesque voyeuristic practice of watching Marion, but also from Marion watching Norman Jog up steps and into his home.
This enforces Hitchcock thematic element of the voyeurism inherent in the audience’s nature. In conclusion, Hitchcock employment of unique thematic and ideological factors in his movies Psycho, The Birds and Rear Window expose his creative input and thus instantiate him as an auteur. His use of the thematic concern of voyeurism and its constituent ideological concern of the effect and punishment of voyeurism illustrate Hitchcock creative authority in contriving these tells and concordantly the consistency o elements demonstrates his deuterium. T these