Rear Window

None of Hitchcock's films has ever given a clearer view of his genius for suspense than Rear Window. When professional photographer L.B. "Jeff" Jeffries (James Stewart) is confined to a wheelchair with a broken leg, he becomes obsessed with watching the private dramas of his neighbors play out across the courtyard. When he suspects a salesman may have murdered his wife, Jeffries enlists the help of his glamorous socialite girlfriend (Grace Kelly) to investigate the highly suspicious chain of events... Events that ultimately lead to one of the most memorable and gripping endings in all of film history.

Joanne Clarke Dillman is a Teaching Professor in the School of Interdisciplinary Arts & Sciences at University of Washington Tacoma, where she has taught for many years. Her courses range from Silent Cinema, Film Theory, and Film and Human Values, To Cinema, Time, & Memory and Screenwriting. Her 2014 book, Women and Death in Film, Television and News: Dead but Not Gone, examines the prevalence of images of dead (female) bodies throughout television, news, and film in the early 2000s (examples are CSI, Dead Like Me, and otherwise graphic deaths central to films such as Minority Report or Corpse Bride, and the news focus on deaths of Natalie Holloway, Chandra Levi and Laci Peterson). She also loves the film classics, such as Rear Window.