photography and voyeurism

His film 'Peeping Tom' (1960) directly confronts the voyeuristic act of cinema itself through a protagonist who photographs women while committing murder, making the camera an instrument of transgression.

'Rear Window' (1954) implicates both the protagonist and audience in voyeurism, using photography and observation as central metaphors for cinema's complicity in invading private spaces.

'Blow-Up' (1966) explores how photography fragments reality and creates obsessive surveillance, questioning what can be known through the camera's gaze and the photographer's subjective interpretation.