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다국어 초록 (Multilingual Abstract)

The title of Alfred Hitchcock`s film is Rear Window which is based on the short story, It Had to be Murder. Windows are frequently used in films and arts as an image and an expression of the frustration of and the resulting desire for communication. More often than not, windows represent a desire to escape from the present situation to the unknown, free world. However, Hitchcock`s window is at the rear which is opened to the rear windows of the private lives of New York apartments, to the prison like frames of the residents. The first part of the essay surveys the various roles the window plays in RW. A window is meant for looking out of, not the reverse. In RW, Heff`s rear window is a voyeuristic instrument which is meant for looking through other windows into the rooms from outside. The view of the inside from the outside became a popular motif in the 20th century paintings among which Hitchcock`s contemporary and an enthusiastic theater-goer Edward Hopper`s paintings give most insight to understand RW as is pointed out by Prof. Pallasmaa. Many of Hopper`s paintings use the compositional device of an interior with a nude or half-dressed woman glimpsed through a window by an unseen viewer who looks in from outside. The impression conveyed from both Hopper and RW, however, is not one of prurient voyeurism but rather of loneliness and isolation. This sense of isolation comes partly from the inevitable distance and the psychological gulf between the eye(cinema spectators) and the object(cinema): visual activity is by nature a touch without a touch, a contact without a contact. Hitchcock both reverses the roles of and shifts the power of the surveillant and the surveilled once more when the object of Jeff`s observation breaks out of the frame and attacks him. The study of the relation between the art(eye) and the object again is a popular motif in the paintings such as Velasquez`s Cupido and Venus. The spectator`s voyeuristic curiosity is stirred by the nude Venus sitting askance with her back, with Cupid holding up the mirror for her in front of her. However, it is instantly and unexpectedly attacked when the spectator meets Venus` eyes looking directly at him from the mirror. The fantasy about the safety of the observer is shattered as if a dinosaur virtually attacks spectators from out of the screen frame. If each window is a screen and Jeff is a cinema spectator, then the lives in the rear window frames are the wish-fulfillment of Jeff and other voyeur, Lisa. `Desire` is from the Latin, de-sidus, referring that it is essentially a longing for the unattainable. Another term for desire or longing is anxiety. The double nature of Jeff`s desire for Lisa, i.e. craving and rejection(anxiety), can help understanding Jeff`s projection of his wish-fulfillment on the screen(windows he is watching) through the dream-works of condensation and displacement: Lisa/Torso/Mrs. Thorwald. It is natural that only when Lisa `enters` into Jeff`s fantasy world, when all other enticements to get his heart fail, can she win and get the upper hand. The second part of this essay examines the roles of the rooms in RW, and relates one of its roles, that of Peeping Tom, to other race of Peeping Toms in the movie including the dog that is killed because it knew too much. Hitchcock proceeds to include the movie spectators in the race of Peeping Toms, which leads to the third and concluding part of the essay. The third part surveys the idea of the world is a stage and the life is a cinema and we are actors and actresses in RW. Whether or not Hitchcock endorses the voyeurism of the race of Peeping Toms(both cinema and audience), one thing for sure is that life is a group of little stories, a potential cinematic art. If cinema itself is represented desires of both scopophilia and exhibitionism, then life, too, is like a texture woven with the desires to be an audience and to be an actor. Both desires in essence are the expression of the need