FILM TV 122D Lecture Notes - Lecture 7: Point-Of-View Shot
2 Jun 2018
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Week 7
• Conflicts: the basis of all scenes
• Cross-cut between two characters: cut away in important moments to delay
satisfaction and keep both protagonist and antagonist alive
• Identification with main character
o Subjective POV--experience with character
o Subjective camera angle-- low or high single shots
o Close-ups and extreme close-ups of the protagonist
• Excitation
o Movements with shots
o Shots get shorter and shorter
o Pace increase as threat increases
o Intensity over content
• Less information needed, only goes to wide shots when necessary
• Pace
o Slow to build suspense
• Subjective/objective
o Subjective limit knowledge (is it better to limit knowledge?)
• Misdirection
• Offscreen sounds
• The French Connection
o Wants to make the film feel as real as possible
o POV shot looking up when he is going by the wall
o Subjective panning up the roof
o Breathing
o Cross-cutting shows the distance between the two, keep both trajectories alive
o Cut-away from the train when the man exit the door to build suspense
o We are being with the good guy, no subjective POV of the bad guy
o Camera zoom-in quickly to make us feel like almost hitting the carriage
o Breath-catching longer shot after the train crash
• The Bourne Ultimatum
o Only cut to wide shot when necessary information is needed
o Jump cuts but people are in the same position on the screen
o POV in the back mirror: the hitman knows the target is at the back
o Zoom-in to the bomb
o Repeat of the explosion in different angles
o See from Dash's point of view that Borne is not moving
o Her hair and his jacket make them stand out in the crowd
o Nikki get inside the building: static
o See the same corner from Nikki's POV: implies that they are close
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