scenes repeated that are shot from a low-angle that reinforces Will’s down-to-earth nature. Perhaps one of the greatest uses of photography occurs in the barbershop scene when it is 11:52. While Will is being cleaned up, we hear the hammer of the coffins being built. Sound is incorporated throughout the film to add to the tension and mood. At times no sound at all is employed that increases our empathy with Will’s condition. Throughout the film he is often in stunned silence because of the lack of action of behalf of the townsfolk. In the barbershop, the mise-en-scene is enhanced by the addition of a sign that reads “Complete Funeral Service” (Zinneman). At this point edited in between scenes, we get shots of barren train tracks that are shot at a low-angle. They run into the distance and remind us of the approaching danger.
Hitchcock also embodies photography, sound and mise-en-scene in a way that dramatically increases the tension of the film. However, in Rear Window, we do not have all of the long-shots and open spaces of High Noon. Instead we have cluttered mise-en-scene, close-ups, tight angles and a single set that the camera continually pans or shoots in close-up to provide us with
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