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A high-angle (HA) shot is a shot in which the camera is physically higher than the subject and is looking down upon the subject. The high angle shot can make the subject look small or weak or vulnerable while a low-angle (LA) shot is taken from below the subject and has the power to make the subject look powerful or threatening.
If a shot following an earlier shot in a sequence is located on the opposite side of the 180-degree line, then it is called a "reverse cut". Reverse cuts disorient the viewer by presenting an opposing viewpoint of the action in a scene and consequently altering the perspective of the action and the spatial orientation established in the ...
A high-angle shot from Big Buck Bunny Example of high-angle shot in photography. A high-angle shot is a cinematic technique where the camera looks down on the subject from a high angle and the point of focus often gets "swallowed up". [1] High-angle shots can make the subject seem vulnerable or powerless when applied with the correct mood ...
High-angle shot (the camera is higher than its subject) Low-angle shot (the camera is lower than its subject) Close-up A frame depicting the human head or an object of similar size. Cut An editorial transition signified by the immediate replacement of one shot with another. Cross-cutting
head-on shot head shot heart wipe high-angle shot A cinematic technique where the camera looks down on the subject from a high angle and the point of focus often gets "swallowed up." [32] High-angle shots can make the subject seem vulnerable or powerless when applied with the correct mood, setting, and effects. [33]
Person passed out on sidewalk – New York City, 2008 – shot using Dutch angle. In filmmaking and photography, the Dutch angle, also known as Dutch tilt, canted angle, vortex plane, or oblique angle, is a type of camera shot that involves setting the camera at an angle so that the shot is composed with vertical lines at an angle to the side of the frame, or so that the horizon line of the ...
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A successful Kubrick stare can be "invasive". [13]Drawing on Lacanian scholarship about cinematic gaze, Far Out writer Aimee Ferrier argues that the Kubrick stare breaks down the barrier between the fictional world and that of the viewers, causing the audience to become further invested in the media. [1]
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