The cinematography in any film plays a significant role in the audience reception of the film. Different directors have come up with different ways of conveying their message to the audience. Alfred Hitchcock is among the first directors to apply cinematography and camera motion in a captivating way. The opening scene in the Rear Window and the closing scene of The Birds are among his most notable works.
Alfred Hitchcock's opening scene in the Rear Window is perhaps the most extended establishing shots in all of the film makings. The shot not only sets the location of a view, but it also determines the whole film in multiple ways. The particularly exhilarating scene on the movie begins at the 00:02:36 and tells the viewers much of what they need to know about the lives of the character, the themes, and settings. The long-shot starts with an alarm clock waking up a twosome who spent the night at their balcony. The camera motions from window to window around the courtyard as the scene gives a brief snippet about the character's lives. The lonesome scenes with some cheerful background music provide the viewers with the impression that this is going to be quite a safe and comfortable neighborhood, which the total opposite.
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Although most of the area appears on screen at the initial shot, one vital thing remains hidden; the view from where the camera swivels. L.B Jefferies's apartment stands behind the camera as it moves from left to right inside his window. The camera also tours through his living room to teach some of his most vital traits. First spears his broken limb, then the cam moves to the left so the audience can understand; it moves to a broken camera, then frames focus shift to a car accident with the tire flying straight at the camera. It spans through several other photographs of Jefferies, thus telling the audience of his career as a professional photographer. The mise-en-scene of this long take briefs on all the vital information about the photographer and the neighborhood in general.
On the other hand, Hitchcock takes a different approach with the film The Birds from 1963. He uses his camera narration technique throughout the movie to illustrate how the birds impact what has been said and how it has been said. In the closing scene, the birds attack the characters in a house, and the camera shifts from Melanie to Mitch and Annie. The bird sounds turn the stage to a gruesome horror film as the birds approach the house from all sides. While the women are all crying and confused, Mitch moves from door to window to ensure all the openings are closed. There is a scene where Melanie is cornered on a coach, making her look young and submissive. The scene builds up the vitality of the birds as threats; they wait inside in fear until the birds calm down when they get a chance of getting out.
The camera cinematography quickly changes from scene to scene, which raises the audience's adrenaline. The exhilarating scene takes place when all the characters in the scene get in the car, and all of a sudden, the camera is pivoted on the windscreen and then moves to the bonnet and front bumper and starts to rise as the vehicle exits the area. All this time, the director ignores the birds giving to indicate that the attack was over. As the car exists, an aerial shot unfolds as the creatures swoop in from off-camera, as if they are rejoicing the triumph of their quest.
Both films demonstrate high levels of cinematography from the director. The director uses montage editing in the rear window to create a series of scenes that convey meaning to the users. It briefs the audience on what is taking place while at the same time leaves them with suspense. In The Birds, the director uses the camera motion to convey meaning. Through these two movies, Hitchcock proves himself as a master controller in angling and framing to draw the audience's attention and emotion.
