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As a source of entertainment, education, and tool of indoctrination, a film is an important form of art. The visual foundation of film art gives it universal application and an edge over other art forms such as spoken or written art. Films reflect the societies’ culture and influence the societies’ culture. Therefore, the relationship between films and culture of a society is such that one cannot be examined without considering the other. For the purpose of this project, two films have been identified; that is “Rear Window’”1954 and ‘Tokyo Story” 1953. The paper first gives a brief summary of the two films and analyses the two films, outlining the major themes in the process. The paper then compares the two films, outlining the similarities between the two films and thereafter listing the differences between the two films. Lastly, the article provides the final remarks on the films based on the major themes discussed within the paper. Brief Summary of ‘Rear Window’ 1954The man character in the movie L.B. “Jeff” Jefferies is a photo-journalist who is immobilized after breaking his while photographic a track race is bound on a wheelchair and is confined within his apartment. He has his rear window looking onto the courtyard and other apartments (Hitchcock). He therefore spends much of his time in spying his neighbors using his binoculars. With time, he becomes much engrossed into this role and later brings in his fiancé Lisa. The venture becomes an enjoyable game for the two until they are able to witness what they believe to be a murder taking place at the neighbors place and this prompts them to continue investigating (Hitchcock). Unfortunately, they have no proof and no one believes them. Finally, Lisa and his nurse come up with a plan to get the killer but it is a plan that might put their lives in danger.A brief summary of ‘Tokyo Story’ 1953The film directed by Yasujiro Ozu about an elderly couple that leaves their coastal homestead situated in a village in southern Japan to go to Tokyo to visit their married children. Their eldest son is a doctor running his own clinic in the rich section of the town and is evidently too busy to find time to show his parents around the town while the eldest daughter is more focused on her beauty salon even to consider showing the parents around (Ozu). The only person who is willing to take time off her busy schedule is their widowed daughter-in-law, Noriko. Instead of spending time with their parents the children send their parents to a resort At Atami hot springs and consider their parents visit as a burden. On the way back, the mother falls ill and later dies (Ozu). The sibling at the village blames the city residing siblings of being ungrateful to their parents while the son and daughter who the parents had visited regret not having appreciated what they had, but it becomes too late. Analysis of ‘Rear Window’ 1954In the film, “Rear Window”” the main character is not depicted as moral police but is portrayed as a man who likes to use his instincts to look which is as a result of his career as a police officer. The movie unlike many others allows the views to and perceives the world as the character perceives it. Each scene that Jeffries sees through his lenses the viewers are also given a chance to view the same (Hitchcock). This makes the audience his partners in crime as they are perceived to be also taking part in the investigation process. One of messages Hitchcock passes to the audience through the use of this style Is for the audience to choose carefully what they watch as one might get involved in something more than he bargained for. The film is full of voyeurism

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