The scene in the film Rear Window was about the community and the protagonist named L.B. Jefferies. The scene started with the window. Next appeared a cat walking in the alley, from that moment, the audience can see the whole set of the neighborhood early in the morning and L.B. Jefferies sleeping when he was sweaty. Next, the viewer can see the thermometer, the composer shaving his beard, the couple sleeping outside their balcony, the dancing woman in a pink undergarment, the dog’s leash tied to the lamppost, and the woman with a pet bird. Then back to the L.B. Jefferies. At that moment, the viewer can see him taking a nap in his pajamas, in a wheelchair, his leg in a cast with his name on it, his broken camera, his black and white pictures, and a magazine of a woman. Overall, Alfred Hitchcock filmed this scene to deliver the audience the idea of what the neighborhood looks like, who are the people in the neighborhood, and what they do in the everyday life. Some of the character names themselves gives the viewer background on that person. For example, Miss Lonleyheart tells the viewer that she has never been married and is not in a relationship. He also wants to show what kind of a person L.B. Jefferies is and why he is the protagonist of the story. In general, Alfred Hitchcock delivered his beautiful art of mise-en-scene and cinematography to covey this scene. In terms of mise-en-scene, the most noticeable elements observed in the scene were the production design and acting. For the production design, the 1950’s urban feel of the movie was effective because of the set design, prop, and lighting. First, the set design helps the viewer understand what the scene is all about and gives the feeling of what era the movie takes place. Next, some of the props revealed something about L.B. Jefferies, like for example the broken camera, it suggested that he is a photographer and that he has been into an accident that causes him to have a cast on his leg and be in a wheelchair. In the same way, the use of the black and white pictures on his ceilings and on his table and his cameras show that he is really a photographer. In addition, the name in the white cast of the protagonist gives out his identity. Another prop such as the thermometer revealed something about the setting, why the Miss Torso is wearing undergarments, and why the couples are sleeping outside. Lastly, Alfred Hitchcock made use of the using natural lighting. It tells you the time of the day, which is early in the morning, and helps you focus on the neighboring apartment. For the acting, the actors and actresses really play their parts very well. They were able to act like normal civilians living their everyday life. On the other hand, in terms of cinematography, the most noticeable elements observed in the scene were the camera movement, the camera distance, the angels, and the focus. Every movement of the camera really focuses each of the subjects in the story. Not only that but Hitchcock made use a lot of panning and birds eye shots to show more of the surroundings. In the beginning of the scene, the camera went panning in toward the window to show the whole neighborhood and that explains the angle of why the camera is eye-level, because it is looking straight at the apartments. Then the camera made a follow shot on a cat when it is walking and it is in high angle shot. At that point, the camera went to a bird’s eye view on the apartment and continued to pan to the left to show more of the area then it craned down to show the milkman and the dog in an eye level shot. After that part, the camera went close-up on L.B. Jefferies to show the sweats in a sharp focus, which explains the prop in mise-en-scene. Then it went close up and shallow focus to the thermometer, it explains what kind of weather they were experiencing. Then it focused on the composer who was shaving. After that, the camera wen went long shot on the couple outside the balcony to see how they sleep and wake up. Then the camera went panning in on a long shot to Miss Torso in a pink undergarment, and then to the dog and the woman with a pet bird. Hitchcock wanted to show the whole community because they have to do something with L.B. Jefferies and why he is the protagonist of the story. This explains why the camera keeps on going back and forth on L.B. Jefferies to the community. Then it went back to L.B. Jefferies in the medium close up. Then it went craning to his white cast and close up of the phrase, “Here lie the broken bones of L.B. Jefferies.” Then zoom out to see the long shot of L.B. Jefferies. The reason why the camera went close up to his cast then zooms out is that Hitchcock wanted to point out the name of the protagonist. Hitchcock made use of close up on L.B. Jefferies because he is the protagonist of the story. Then panning to the left and focused onto the broken camera. Then it tilts up to the black and white pictures on the wall. The camera continues to pan to the left to sow more of his camera and pictures. The picture of the car crash gives the viewer an idea of how L.B. Jefferies broke his leg. Lastly, it pans to the woman in the picture frame to the woman in the magazine to point out that they are the same woman, and a woman of fame. In the scene when Lars Thorwald confronts L.B. Jefferies, the use of low lighting and shadowing suggest something sinister is about to happen, In conclusion, Alfred Hitchcock was able to send his wonderful art of mise-en-scene and cinematography to convey this movie very well. It helps the viewer to understand what kind of community people live in. Hitchcock was able to portray a murder without any blood or violence. It was important for a filmmaker to use more of mise-en-scenes and cinematography and its elements to attract more viewers. This movie could be performed very easily as a play due to the small location of the set.