In Rear Window, Alfred Hitchcock makes extensive use of camera angle and framing. The film takes place in the apartment of L. B. Jeffries, where "Jeff" has limited mobility in wheelchair because of a broken leg. Added to this device is this professional photographer's extreme curiosity—or, as some would say, voyeurism. This combination accentuates the impression that the film is shown from his perspective.
However, the viewer also sees him from a detached vantage point. Most of the time, he is looking out the window, frequently through the lens of his camera. This window provides one important frame. In addition, because he often looks into the apartment of his neighbor, Thorwald, through that window, there is a double frame.
Hitchcock manipulates both these techniques to increase the mystery and suspense. Did Thorwald kill his wife, as Jeff suspects? His suspicions are based on his observations through the two frames, but the limited perspective—the camera angle that replicates what he can see—means he cannot prove anything. The suspense is heightened when Lisa, Jeff's girlfriend, enters Thorvald's apartment. Jeff can see what she cannot: that the menacing neighbor is approaching and entering the apartment. Will he catch and kill Lisa? And can the viewer become the viewed? What happens if Thorwald turns his gaze on Jeff?