72 years ago this week, Alfred Hitchcock completely changed how we look at movies, literally.
When Rear Window hit cinemas back in August 1954, it turned a single apartment and courtyard into the setting of arguably the most tense thriller ever made.
Like with his film Rope before it, Hitchcock was limited in space in which to tell the story, so he got creative and utilised his mastery of visual storytelling.
By locking the whole story inside James Stewart’s room and the view from it, Hitchcock had to build the entire film around shot progression and clever pacing in editing, to build raw tension, often with no music at all.
It's a lesson in why creative limits are actually a good thing, as necessity sparks ingenuity.
Me quedo con el Nico que debutó, el que hizo tremenda dupla con Matute, el crash de todas las de mi edad, el del mercurial en la oreja
Me quedo con las alegrías y la nostalgia
Éxitos Nico
La sociedad se lumpeniza sin retorno posible. El derrumbamiento de los acuerdos mínimos de la vida social es un hecho. El arbitraje que nos hemos dado en sus diversas formas institucionales es absolutamente estéril.
Día de total optimismo.
A mí lo único que me preocupa del episodio del ómnibus, es que haya tanta gente en tuiter convencida que caminar 6 cuadras en POCITOS a las 8 de la mañana representante un peligro inminente para un botija de 14 o 15 años. No tocan la calle ni de onda, acá.