CINEMATIC POINT OF VIEW

From what position and through what kind of eyes does the camera see the

action? - • What effect does this have on our response to the action? • How is our response affected
by changes in the point of view? (consistency of viewpoint would be boring in a film and would
impede effective communication)

Four points of view are employed in motion pictures: (largely a matter of camera placement)

• objective (camera as sideline observer) like watching from outside a window LOOK OF OUTWARD
REGARD

• subjective (camera as participant in the action) the visual viewpoint and emotional

intensity felt by a character participating in the action EYE-LINE SHOT

- The alternation between the objective and the subjective view provides both a
clear understanding of the dramatic flow of events and a strong sense of audience
involvement

• indirect-subjective - A close-up of a face contorted in pain makes us feel that pain more vividly
than would an objective shot from a greater distance

• director’s interpretive - We are consciously aware that the director wants us to see the action in
some unusual way

ELEMENTS OF CINEMATIC COMPOSITION

these so-called natural laws focus on three fairly simple visual concepts:

1. Vertical lines suggest strength, authority, and dignity.

2. Diagonal lines crossing the frame suggest action and dynamic movement—the power to overcome
obstacles ( Figure 5.5 ).

3. Curved lines denote fluidity and sensuality; compositions that suggest a circular movement evoke
feelings of exaltation, euphoria, and joy.

- Every shot must be designed with the goals of cinematic composition in mind. These
goals are (1) directing attention to the object of greatest significance, (2) keeping the image in
constant motion, and (3) creating an illusion of depth.

1) A. Size and Closeness of the Object - B. Sharpness of Focus. (not blurred, what the eye can see
best) - C. Extreme Close-Ups – D. Movement (but not in the background vs a static foregrounded
object) D. Arrangement of people and objects E. Foreground framing (To make sure that our
attention is not distracted by the framing objects or people, the director generally emphasizes the
most important subject with the brightest lighting and sharpest focus) – F Lighting and Color (High-
contrast areas of light and dark create natural centers of focal interest, as do bright colors in a
subdued or drab background)

KEEPING THE IMAGE IN MOTION