REAR WINDOW SUN SHADE - REAR WINDOW

Rear window sun shade - Sun awnings - Flower drapery rod.

Rear Window Sun Shade


rear window sun shade
    rear window
  • Rear Window is a 1954 American suspense film directed by Alfred Hitchcock, written by John Michael Hayes and based on Cornell Woolrich's 1942 short story "It Had to Be Murder".
  • car window that allows vision out of the back of the car
  • Tru Calling is a supernatural drama television series that aired on the Fox Network. The series premiered on October 30, 2003, and ran for two seasons before it was cancelled during its second season, with the final episode airing on April 21, 2005.
    sun shade
  • A space sunshade or sunshield can be described as analogous to a parasol that s or otherwise reduces some of a star's rays, preventing them from hitting a planet and thereby reducing its insolation, which results in less heating of the planet.
  • (Sun-shades) can also refer to the sun-shading eyepiece-type, although the term is not exclusive to these. Also in use is the derivative abbreviation, shades.
  • A parasol, awning, or other device giving protection from the sun
rear window sun shade - Rear Window
Rear Window [VHS]
Rear Window [VHS]
Like the Greenwich Village courtyard view from its titular portal, Alfred Hitchcock's classic Rear Window is both confined and multileveled: both its story and visual perspective are dictated by its protagonist's imprisonment in his apartment, convalescing in a wheelchair, from which both he and the audience observe the lives of his neighbors. Cheerful voyeurism, as well as the behavior glimpsed among the various tenants, affords a droll comic atmosphere that gradually darkens when he sees clues to what may be a murder.
Photographer L.B. "Jeff" Jeffries (James Stewart) is, in fact, a voyeur by trade, a professional photographer sidelined by an accident while on assignment. His immersion in the human drama (and comedy) visible from his window is a by-product of boredom, underlined by the disapproval of his girlfriend, Lisa (Grace Kelly), and a wisecracking visiting nurse (Thelma Ritter). Yet when the invalid wife of Lars Thorwald (Raymond Burr) disappears, Jeff enlists the two women to help him to determine whether she's really left town, as Thorwald insists, or been murdered.
Hitchcock scholar Donald Spoto convincingly argues that the crime at the center of this mystery is the MacGuffin--a mere pretext--in a film that's more interested in the implications of Jeff's sentinel perspective. We actually learn more about the lives of the other neighbors (given generic names by Jeff, even as he's drawn into their lives) he, and we, watch undetected than we do the putative murderer and his victim. Jeff's evident fear of intimacy and commitment with the elegant, adoring Lisa provides the other vital thread to the script, one woven not only into the couple's own relationship, but reflected and even commented upon through the various neighbors' lives.
At minimum, Hitchcock's skill at making us accomplices to Jeff's spying, coupled with an ingenious escalation of suspense as the teasingly vague evidence coalesces into ominous proof, deliver a superb thriller spiked with droll humor, right up to its nail-biting, nightmarish climax. At deeper levels, however, Rear Window plumbs issues of moral responsibility and emotional honesty, while offering further proof (were any needed) of the director's brilliance as a visual storyteller. --Sam Sutherland

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Not My Usual Scene from My Rear Window ~ Snowbow Weather
Not My Usual Scene from My Rear Window ~ Snowbow Weather
Ok, here is what is going on in this photograph. It was snowing, unusual but not unheard of on the Willamette Valley floor in Oregon, but it the sun was also trying to break through. The unusual shade of green next to the trailer under a shelter, is from the equalization technique I gave my photo. It sort of scattered a sun orb. I can't remember ever purposely leaving the neighbor's trailer in a picture, because I think it is unattractive, but in this photo it kind of sets a stage for beautiful weather and countryside being the same, in poverty or not. I don't think they even use it; there are 2 other homes on their property. Anyway, I liked the way it came out in this photo. Another thing I almost always crop out, either in the camera or in post processing, is my window frame and/or draperies. This time I left the draperies, which only appear that dark because of the lighting, because I was fascinated with the sun's rays continuing from outside the window onto the draperies inside. So, I left things on the left and on the right of the window which I don't normally do. Oh, and my description about Snowbow is a word I coined today. If rain & sun make a rainbow, I thought snow & sun could make a snowbow. (0628rearwindowleavingdraperiessnow&sun) Snowing and sun at the same time
The Nursing and Chemistry Build windows which allow sun to light and and the indented structure also provides natural shade.
The Nursing and Chemistry Build windows which allow sun to light and and the indented structure also provides natural shade.
A feature that the Nursing and Chemistry Building has is its ability to provide natural shade to the surrounding inhabitants. The shrubs, plants, and trees do not need to be subjected to the violent sunlight all day, so the shade helps them to cool off as well as use the energy it just soaked up. Another feature this building provides is the immense windows, which help provide natural light and warmth.

rear window sun shade
rear window sun shade
Vertigo (Collector's Edition)
Considered by many to be director Alfred Hitchcock's greatest achievement, Leonard Maltin gives Vertigo four stars, hailing it as "A genuinely great motion picture." Set among San Francisco's renown landmarks, James Stewart is brilliant as Scottie Ferguson, an acrophobic detective hired to shadow a friend's suicidal wife, Madeleine (Kim Novak). After he saves her from drowning in the bay, Scottie's interest shifts from business to fascination with the icy, alluring blonde. When he finds another woman remarkably like his lost love, the now obsessed detective must unravel the secrets of the past to find the key to his future.

Although it wasn't a box-office success when originally released in 1958, Vertigo has since taken its deserved place as Alfred Hitchcock's greatest, most spellbinding, most deeply personal achievement. In fact, it consistently ranks among the top 10 movies ever made in the once-a-decade Sight & Sound international critics poll, placing at number 4 in the 1992 survey. (Universal Pictures' spectacularly gorgeous 1996 restoration and rerelease of this 1958 Paramount production was a tremendous success with the public, too.) James Stewart plays a retired police detective who is hired by an old friend to follow his wife (a superb Kim Novak, in what becomes a double role), whom he suspects of being possessed by the spirit of a dead madwoman. The detective and the disturbed woman fall ("fall" is indeed the operative word) in love and...well, to give away any more of the story would be criminal. Shot around San Francisco (the Golden Gate Bridge and the Palace of the Legion of Honor are significant locations) and elsewhere in Northern California (the redwoods, Mission San Juan Batista) in rapturous Technicolor, Vertigo is as lovely as it is haunting. --Jim Emerson

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