01:40:25Mental and relational image · SHOT EVIDENCE
Lisa raises the wedding ring: how one object redirects several relations
When does the wedding ring cease to be mere evidence and become a relational node that alters characters, spectator, and spatial positions together?
Film and viewing version
Rear Window · Rear Window · Alfred Hitchcock / 阿尔弗雷德·希区柯克 · 1954
Reviewed passage by passage on the 01:50:54 single-part Bilibili carrier with hard Chinese and English subtitles. 01:40:25 is the still anchor and 01:39:40—01:40:35 is the atlas's working boundary; opening credits and transitions may introduce seconds of drift across masters.
Version boundary: The timecodes on this page apply only to the named viewing carrier. Restorations, differing leaders, or platform transcodes may shift them.
Passage and still timecodes
approx. 01:39:40—01:40:35 (the passage in which Lisa displays the wedding ring and Jeff and Stella recognize its force containing the 01:40:25 still)
The window locates the passage; its boundaries remain approximate
The passage window and still anchor are separate coordinates: the Bilibili still at 01:40:25 was checked on 2026-09-01; it does not turn an approximate passage on another carrier into exact bounds.
Visible facts
- 01
Lisa raises the ring at the opposite window and displays it toward Jeff; the film cuts back to Jeff and Stella watching and responding.
- 02
Thorwald then notices Lisa's gesture and turns his look across the courtyard, threatening the previously one-way arrangement of vision.
Audible facts
- 01
Jeff and Stella's dialogue identifies the ring as an object Mrs. Thorwald would not willingly leave behind. Hard subtitles provide Chinese and English text but are not treated as an independent master check.
Action relation
Lisa's search obtains an object, but the decisive change is not merely finding a clue: raising the ring alters Jeff's judgement, Thorwald's attention, and the safe distance between the two sides at once.
Temporal relation
The past marital relation, the story of whether the wife left, and the imminent danger of Thorwald's returning look overlap in one object. The ring lets an unseen past constrain the present.
Conceptual reading
If the ring merely transmits evidence in a detective plot, it remains a clue consumed by action. The symbol claim holds only when the concrete object bears and reorganizes abstract relations among marriage, crime, knowledge, and positions of looking.
Concepts used in the judgement
- Mental-imageimage mentale · SCENE SUPPORT
The ring makes unseen marriage, murder hypothesis, and spectatorial inference into one object of thought organized by the image.
→ - Relation-imageimage-relation · SCENE SUPPORT
This is a symbol directly named by the primary text: a concrete ring bears an abstract marital relation and, through its display, reorganizes relations of looking.
→
Primary and scholarly coordinates
- 01Cinema 1: The Movement-Image
Minnesota 1986 translation, chapter 12, p. 204
Page 204 directly lists “the wedding ring of Rear Window” as a symbol and defines the symbol as a concrete bearer of abstract relations. The primary text does not specify 01:40:25 on this carrier; the time window, visible facts, and argument about the display reorganizing relations of looking are the atlas's responsibility.
- 02Deleuze’s Cinema Books: Three Introductions to the Taxonomy of Images
David Deamer, Deleuze’s Cinema Books (2016), pp. 132–135
Deamer reconstructs the general taxonomy here: mark and demark are compositional signs of natural relations, while symbol is the genetic sign of abstract relations. These pages do not perform the atlas's shot analysis of Rear Window.
Terminological coordinates
Chapter relations
Viewing and still sources
Direct scene · Still anchor 01:40:25; watch 01:39:40–01:40:35, recording in order Lisa's gesture, Jeff and Stella's recognition, and Thorwald's returned look. The timecode applies only to the 01:50:54 single-part BV1zvyTYMEqk carrier with hard Chinese and English subtitles; Blu-ray, DVD, and other streaming editions require fresh location.