Fuck Yeah Steely Dan

[forever70s]

images from Hors D'oeuvre; illustrations by John Astrop and Eric Hill (1967)

[sanforized]

[oshiwambo]

[digitalfossils]

[thedesertdove]

[birdcagewalk]

[thomasmartinnutt]

Pierre Soulages. Lithographie No.11, 1963

[golden-west]

[lambchopzzzz]

[scavengedluxury]

Sainsbury's assorted biscuits packaging, 1960s. From the Sainsbury Archive.

[huariqueje]

I took a walk - Hazel McNab

British , b. 1965 -

Colour reduction linocut , 17.5 x 19.5 cm. Ed. of 24.

[fuckyeahsteelydan]

The Case of the Green Covers: Penguin Crime

[beammeupplease]

Eyvind Earle.

[ymutate]

Gerard du Bois

[the-cricket-chirps]

Kasamatsu Shiro

Tokyo Tower

1959

[fadedforest]

source.

+ fadedforest.

[everyframeapainting20]

This shot from "Vertigo" is a masterclass in Hitchcock’s use of reflection to reinforce the film’s themes of identity and duplicity. As Scottie, played by Jimmy Stewart, stands beside Judy, played by Kim Novak, the mirror doesn't just capture their likeness—it reflects the fractured identities at play. Judy has transformed into Madeleine yet remains herself, a visual doubling that mirrors her inner conflict and deception. The dual reflections suggest that neither character is whole; both are trapped in illusions—Scottie in his obsessive recreation of Madeleine and Judy in her complicit performance. The mirror becomes a symbol of the characters’ divided selves, perfectly encapsulating the film’s exploration of identity, obsession, and the haunting grip of the past.