Indeed, the decisions in Arden and Hogan demonstrate that similarities far more numerous can be insufficient to support a finding of substantial similarity. The test does not, however, require the Court to ignore dissimilarities.
Jeffries attempts to phone Inspector Boyne, but the line goes dead: The second criterion, copying of original constituent elements, may be proven with either direct or indirect evidence: He tells the police about the blue bag, in which they discover the decomposing carcass of a deer.
Much like Rear Window link to theme of the film, immediately at the start. Hey, it worked for Brian DePalma. We then go into a room, where we see a close-up of a man lying down, sweating. Overall, the opening sequence to Rear Window is brilliantly done, masterfully crafted and amazingly directed.
Such a scattershot approach cannot support a finding of substantial similarity because it fails to address the underlying issue: Meanwhile, in Disturbia, Ashley freely flaunts her lanky figurine for the pleasure of male audiences and whenever Kale uses his binoculars to see her swim, we as the audiences are put into his shoes and when Ashley realizes that Kale is spying on her, we ourselves are found guilty of being a Peeping Tom!
The role of the windows is similar only at a high level of generalization, and thus is not protectible.
The music seems fairly bright and upbeat for a thriller, but when the piano cuts out at some points, the music sounds dramatic and screechy, referring back to the thriller elements. That rule, however, is irrelevant here, as it is applied only in the determination of whether there was actual copying.
Undeterred from the belief that Thorwald murdered his wife, Jeffries enlists the assistance of his faithful servant, Sam, in obtaining proof of the murder. Plaintiff also asserts that the supporting characters in each work are substantially similar.
The music that had continued throughout cuts out as we see the man turn of his radio, and we begin to hear this. It has become more of an obsession as he discovers something fishy in his neighborhood. The pace of the two works is dramatically different: Immediately after showing the thermometer, the camera pans to a man shaving, with his radio on.
But both of them are consumed by their obsession, rendering them almost social outcasts. Columbia Pictures Industries, Inc.
This shows very clearly as we can see beyond the apartment building; a thriving city. Many movies have been made through these years on the issue of voyeurism but two movies under the suspense thriller genre that have greatly caught my attention are Rear Window by Alfred Hitchcock and Disturbia by D.
Plaintiff contends that there is substantial similarity between settings in the Short Story and Rear Window. Caruso is very good at using the modern technology of cellphones, I-Pods and computers to both aid and frustrate the efforts of his would-be sleuths.
We finally pan around and enter a room where the main character lies with his leg in a cast, immediately explaining why he is stuck in his house.
The evidence is viewed in the light most favorable to the nonmoving party and all reasonable inferences are drawn in its favor. The main protagonist is untidy in appearance, and appears not to be bothered with it.
He observes his new neighbors moving in, and takes particular note of their attractive teenage daughter, Ashley. After their conversation finishes, we see a long shot of mountains, suggesting peacefulness. The setting and mood of the Short Story are static and tense, whereas the setting and mood of Disturbia are more dynamic and peppered with humor and teen romance.
Defendants produced and distributed the motion picture Disturbia; distribution began in April While Plaintiff correctly points out that both Kale and Jeffries are confined, single men, such generalized similarities are not protectible.
However, both Stella and Lisa in the end, end up joining him. Both openings and as a whole both films have quite a slow build-up. Caruso placed in his movie. For example, in Adrand v.The suit names Dreamworks, Paramount Pictures, executive producer Steven Spielberg and others involved in the making of “Disturbia” and claims they essentially made a remake of “Rear Window” without bothering to pay for the rights to the source material.
Jul 19, · Lastly, let’s compare the mise-en-scene of Disturbia and Rear Window. In Rear Window, since the entire movie was shot in a studio set, Jeffries was seen spending his entire time in his apartment and all he could see was the rear windows of his neighbors’.
1 Comment on Disturbia () -vs- Rear Window () Scott Baradell August 8, at am I dragged my wife to Disturbia at the theater, and we both ended up impressed by it. Unlike most editing & proofreading services, we edit for everything: grammar, spelling, punctuation, idea flow, sentence structure, & more.
Get started now! Dec 03, · Comparison of Rear Window and Disturbia I decided to compare the openings of Rear Window (), one of Hitchcock's best films and receiver of 4 Oscar nominations and it's 'modern remake' Disturbia (), directed by D J Caruso and starring Shia LeBeouf, to see the difference of what it took to attract an audience in the '50's compared to today.
Fascinating decision in DISTURBIA vs. REAR WINDOW copyright infringement case. critics’ reviews likening Disturbia to the Rear Window film; and many lists, charts and DVDs In contrast, Disturbia’s setting encompasses all of Kale’s house and much of his yard, as well as a shopping center, a parking garage, Ashley’s house and.Download