Point of View / Perspective The Semantics of Film-Making: Part IIThe Semantics of Film-Making: Part II

Point of View

Angle of Shot establishes Point of View or Perspective.

Reading visual images in terms of both the vertical and horizontal angles establishes whether the viewer is being positioned to adopt a subjective or objective point of view.

Subjective images are those in which everything is arranged for the viewers, positioning them to adopt a particular stance with an image. The vertical angle defines the nature of the power relations between the viewer and the image.

Such images tend to the naturalistic, as opposed to the symbolic..

Subjective Perspective

High & Low Angles

Low AngleLow AngleLiterally, Literally, ““looking up to someonelooking up to someone””,,

gives the power to the person gives the power to the person beingbeing

looked upon. They are bigger thanlooked upon. They are bigger thanthe person doing the looking.the person doing the looking.

High AngleHigh AngleLiterally, Literally, ““looking down onlooking down on

someonesomeone””, gives the power to the, gives the power to the

audience, the people doing the audience, the people doing the looking.looking.

Literally, the Literally, the audience is audience is ““on on the same levelthe same level”” as the personas the person

being looked at, or being looked at, or seeing themseeing them

““eye to eyeeye to eye””. .

It conveys we areIt conveys we arePart of the same Part of the same

social world!!social world!!

No Angle

Horizontal angles Horizontal angles encode the encode the ““involvementinvolvement”” of the of the reader with the image through frontal and oblique reader with the image through frontal and oblique points of view.points of view.

There is a shift from the more There is a shift from the more ““naturalisticnaturalistic”” to the to the predominance of predominance of significationsignification. .

A particular A particular ‘‘moodmood’’ is also created depending on is also created depending on the gaze of the subject being filmed.the gaze of the subject being filmed.

Objective Perspective

If the participants in an If the participants in an image are depicted on image are depicted on the horizontal angle from the horizontal angle from the front, facing the the front, facing the camera squarely, then a camera squarely, then a connection is established connection is established between the represented between the represented participants and the participants and the viewer. Such a viewer. Such a representation invites the representation invites the involvement of the viewer involvement of the viewer with the image.with the image.

Frontal Angle: Connecting with the Viewer

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When someone in an image When someone in an image looks directly at the viewer, her looks directly at the viewer, her gaze establishing a direct gaze establishing a direct connection between her, the connection between her, the represented participant, and represented participant, and the viewer, an interactive the viewer, an interactive participant. This establishes a participant. This establishes a demanddemand, as it explicitly , as it explicitly acknowledges the viewer: the acknowledges the viewer: the producers of the image wish to producers of the image wish to influence the viewer in some influence the viewer in some way to enter into an imaginary way to enter into an imaginary relation with the represented relation with the represented participant.participant.

Making Eye Contact: Demanding Attention

Conversely, if the Conversely, if the participants in an image are participants in an image are depicted on an depicted on an oblique oblique angleangle (i.e. the angle is not (i.e. the angle is not straight on) the reader is straight on) the reader is being positioned to adopt a being positioned to adopt a detached detached point of view. The point of view. The participants are not participants are not recognised as part of the recognised as part of the ““worldworld”” of the viewer: they of the viewer: they are are ““themthem”” rather than rather than ““usus””..

Oblique Angle: Viewer as Detached Outsider

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When someone in an When someone in an image does not look at image does not look at the viewer, the viewerthe viewer, the viewer’’s s role is that of an role is that of an invisible and detached invisible and detached onlooker. This onlooker. This constitutes an constitutes an offeroffer, as , as the represented the represented participants are participants are depicted impersonally depicted impersonally as items of information as items of information or objects for the vieweor objects for the viewerr ’’s contemplation.s contemplation.

Looking Inside the Frame: Contemplative Offer