{"id":1500,"date":"2018-01-06T22:44:07","date_gmt":"2018-01-06T22:44:07","guid":{"rendered":"http:\/\/ronaldruseler.nl\/wp-tekst\/?page_id=1500"},"modified":"2018-01-06T23:02:33","modified_gmt":"2018-01-06T23:02:33","slug":"rear-window-alfred-hitchcock","status":"publish","type":"page","link":"http:\/\/ronaldruseler.nl\/wp-tekst\/rear-window-alfred-hitchcock\/","title":{"rendered":"Rear Window &#8211; Alfred Hitchcock"},"content":{"rendered":"<p>How Hitchcock used <em>editing<\/em> to turn &#8216;Rear Window&#8217; (1954) into a masterpiece of <em>visual storytelling.<\/em><\/p>\n<p>In Rear Window, a film Alfred Hitchcock called his &#8220;most cinematic&#8221; because it was &#8220;told only in visual terms&#8221; (and in the screenplay, there is, indeed, no dialogue for the first four pages)\u00a0we can see how the <em>Kuleshov effect<\/em> provides much of the film&#8217;s drama.<br \/>\n<span style=\"font-size: 6pt;\">(Justin Morrow -July 29, 2014)<\/span><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-1507\" src=\"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/rearwindow.jpg\" alt=\"\" width=\"1600\" height=\"872\" srcset=\"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/rearwindow.jpg 1600w, http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/rearwindow-300x164.jpg 300w, http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/rearwindow-768x419.jpg 768w, http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/rearwindow-1024x558.jpg 1024w, http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/rearwindow-624x340.jpg 624w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\" \/><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-1505 alignleft\" src=\"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/Rear_Window_film_poster.png\" alt=\"\" width=\"621\" height=\"916\" srcset=\"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/Rear_Window_film_poster.png 565w, http:\/\/ronaldruseler.nl\/wp-tekst\/wp-content\/uploads\/2018\/01\/Rear_Window_film_poster-203x300.png 203w\" sizes=\"auto, (max-width: 621px) 100vw, 621px\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>How Hitchcock used editing to turn &#8216;Rear Window&#8217; (1954) into a masterpiece of visual storytelling. In Rear Window, a film Alfred Hitchcock called his &#8220;most cinematic&#8221; because it was &#8220;told only in visual terms&#8221; (and in the screenplay, there is, indeed, no dialogue for the first four pages)\u00a0we can see how the Kuleshov effect provides much of the film&#8217;s drama&#8230;. <a href=\"http:\/\/ronaldruseler.nl\/wp-tekst\/rear-window-alfred-hitchcock\/\">Read more &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1500","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/pages\/1500","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/comments?post=1500"}],"version-history":[{"count":4,"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/pages\/1500\/revisions"}],"predecessor-version":[{"id":1509,"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/pages\/1500\/revisions\/1509"}],"wp:attachment":[{"href":"http:\/\/ronaldruseler.nl\/wp-tekst\/wp-json\/wp\/v2\/media?parent=1500"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}