Voyeurism is the dominant theme is Rear Window; whether is be the voyeurism of jeffrie's looking at his neighbors, the viewer's voyeurism watching the movie, or even Hitchcock indulging his voyourism by hiding behind the camera. Photographer L.B. Jefferies (James Stewart), immobilized with a shattered leg, spends his time spying on his neighbors. Alone in his apartment, he has a multiplex to himself, with a different genre playing in each window. The film remains unsettling because Hitchcock took such "sadistic" glee in implicating the audience in Jefferies' voyeurism. When his girlfriend admonishes him for his ghoulishness, she's talking to us as well. Hitchcock is rigorously exacting in the extent to which he forces us to experience the events through Jefferies. The camera angles match his position (when he uses a camera’s zoom lens to get a better view, we finally get the closer shots we've been craving) and the soundtrack reveals only what he could hear, burying his neighbors' conversations in the ambient drone of city buses. The scenes are kept short and always end in fades. This has the effect of making the material seem abrupt and somehow unfinished, leaving us hanging on for more, as desperate as Jefferies for the next revelation. When he finally pushes past simple voyeurism and begins to act on his suspicions, the risks he takes on become our risks; our identification with him is so complete that moments that might have been nicely suspenseful jolts in a typical thriller become terrifying.