Many of Hitchcock’s films are known for their reflexivity. A reflexive film allows the audience to remain aware of the film making process. It is characterized by a host of aspects including looking into the camera, point of view editing, two-dimensionality of the screen, or making the film about the process of film making. Therefore, one could conclude that a reflexive film is a film hallmarked by a sense of self-awareness. Such films are described to break the fourth wall by removing the barrier between the actors and their audience (Brown, 2013). Other than breaking the fourth wall, filmmakers can also manipulate certain effects to meet these requirements. Scholars in film-making argue that reflexive films seek to include the audience and take them through the process of making a film. The audience becomes part of a greater image which is the movie. An example of Hitchcock’s films that meets this criterion is “Shadow of a Doubt.” In this film, Hitchcock does not show any interest in keeping a comfortable distance between the characters and the audience. He constantly uses techniques that break the fourth wall hence implicating the audience into the action and questioning how different they are from the characters.
Just like in other films such as the "Rear Window," Hitchcock is hell-bent on emphasizing the importance of the spectatorship. A spectator can be regarded as a member of the audience. It is regarded as one of the most important aspects of film theory. According to the concept of spectatorship, the film establishes a unique relationship with every individual who is part of it. Therefore, spectatorship can be regarded as a special type of reflexivity in the film. Throughout the film, characters appear to be looking directly towards the camera. This appears shocking especially for someone who is not well-conversant with reflexivity as a method in film production. Many people are used to eye-lines remaining far from the center which characters looking at different things in the space provided in the film. In a particular scene, one of the leading characters, Cotten, demonstrates reflexivity achieved via directly staring at the cameras. The threaten gaze he gives on the screen seeks to dare the audience to disagree with him. The shot turns out to be one of the most chilling scenes in the history of Hitchcock’s filmography. In the scene, Cotton says, “Are they? Are they, Charlie? Are they alive, or are they fat wheezing animals? What happens to animals when they get too fat and too old?” (Alfred Hitchcock's Shadow of a Doubt Film).
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Another important aspect that Hitchcock used to break the fourth wall was the visual effects. He is regarded as a master in applying the Hollywood compositional style. His method of camera placement made it possible for all his films to appear identical. He used an identical camera language in an elegant way. For instance, he would occasionally zoom slowly towards the face of an actor to depict fear or any other emotion (Jacobs, 2007). He further utilizes the tilt shots to show things in a position which they should not be. The contrasting shadowed and lighted areas within the frame are communication of the moral statements which sometimes occur in anticipation. Therefore, this is an illustration that Hitchcock possessed the power to brilliantly manipulate his viewers in ways that they could easily notice. As a result, viewers would occasionally find themselves in compromised situations. One could conclude that his aim was to ensure that the characters in the film were in constant communication with the audience. For instance, Cotton's direct focus on the camera is a strategy to seek approval. On the other hand, Grace Kelly in "Rear Window" appears to be flipping her fingers in communication with the viewers in one of the instances.
The incident between Charlie and his niece Charlotte is an example of how Hitchcock was hell-bent on incorporating the audience and making them part of the story. Many authors have regarded him as an excellent storyteller hell-bent on details and the meanings that came out of it. Charlotte is nicknamed "Young Charlie" and continued to idolize Charlie, her uncle for many years. She even goes to complain to her family members that she wanted to visit her uncle. In a turn of events, later that day, they receive a telegram that informs them that Charlie was going to visit them. However, Hitchcock decides to go by the obvious route where he shows the train carrying Charlie arriving amidst a black smoke. This is an example of spectatorship. Spectatorship is based on how well a film produces a sense of pleasure among its viewers. It is about putting the film audience part and parcel of the movie (Hitchcock et al., 2018). It also enabled the audience to feel in the unnecessary gaps that movie producers always leave behind. Therefore, the viewers are better-placed knowledge-wise as they progress with the storyline.
Hitchcock goes ahead to use what is known as the German Expressionistic devices such as the low-key lighting that provide deep space and shadows. It, therefore, enables him to create a perfect situation and setting. Spectatorship and breaking of the fourth wall are further seen when Uncle Charlie has dinner with the rest of the family members. It is in this regard that he reveals his true feelings to women and greedy women in general. The use of the tracking tight close-up enables Hitchcock to reveal the real character traits if Charlie from his niece's perspective. When her niece interjects in this uninterrupted close-up, Charlie turns and breaks the fourth wall. As such, this turns out to be a crucial technique that explores and conveys the essential character traits of the actors. Therefore, this further explores the importance of breaking the fourth wall and the spectatorship on the part of the audience. They film interacts with them in ways that they do not need any further interpretation of the direction taken by an actor (Hitchcock et al., 2018). It expresses the deeply held value of the actor in a manner that might not be open to the eyes of the viewer when this technique is not in use.
The use of the point of view editing turns out to be another significant strategy vital to the interaction that the film has with the audience. Point of view editing or shot is a short film scene that represents what a character is looking at. It remains crucial to note that it significantly differs from the character looking at the camera (Jacobs, 2007). An example of a point of view shot would be a character captured looking at the sea. It is usually represented through a camera. Therefore, when the leading character of the film is within the point of view, the audience is allowed to see events through the eyes of the leading actor as if they were experiencing the events themselves. Hitchcock has successfully used this technique in various films including “Rear Window” and “Shadow of a Doubt.” In the former film, the audience is accustomed to Jeff because of this technique. It is through this technique that the viewer gets to interact with various characters in “Shadow of a Doubt” such as Cotton and Charlie. Therefore, this approach uses both camera effects and the position of the character to explore more on their role.
Mystery and suspense are also significantly used throughout the story as a way of emphasizing the importance of keeping tans with the audience in any film. Charlotte lives in an average American family in a morally upright society where everyone cares for the counterpart. Life is quiet until the arrival of Charlie who comes and decides to stay. Despite Charlotte significantly idolizing his uncle, excitement soon ends as she begins to believe that there was something hidden behind her uncle’s smile (Derry, 2010). Although the film seems to have a sense of mystery, Hitchcock is hell-bent on feeding the audience several clues that enable them to predict what would happen in the future. Examples include the recurring hummed tune and the newspaper clipping all which are signs that Charlotte's uncle could be up to something suspicious. The best scenes of this movie happen at the dinner table where the audience gets all the necessary clues that point to suspicion. As the film comes to a close, Charlie is also seen coming to the camera lens when Charlotte challenges her about women. She says, " But they're alive, they're human beings." Charlie goes to the lens of the camera, breaking the fourth wall by replying, "are they?" (Alfred Hitchcock's Shadow of a Doubt Film).
In conclusion, Hitchcock proves to be a masterpiece in developing films characterized by a sense of self-awareness. He uses a host of tactics and techniques that enable him to allow for interaction between the actors and the audience. This is known as breaking the fourth wall. Spectatorship, direct viewership of the camera, and the point of view are all aspects that have enlightened the audience. Similar techniques are also used in films such as “Rear Window,” thus enabling him to assert a sense of identity in his work.
References
Alfred Hitchcock's Shadow of a Doubt Film
Brown, T. (2013). Breaking the Fourth Wall. Edinburgh University Press.
Derry, C. (2010). The suspense thriller: Films in the shadow of Alfred Hitchcock. McFarland.
Hitchcock, A., Wright, T., Cotten, J., Carey, M., & Wilder, T. (2018). Shadow of a Doubt. Universal Studios.
Jacobs, S. (2007). The wrong house: the architecture of Alfred Hitchcock. 010 Publishers.
