Film Shots and Angles

PROXEMICS:  the spatial relationships among characters within the mise-en-scene, and the apparent distance of the camera from the subject photographed

	Extreme Close Up
	-singles out a portion of the body or isolates a detail
	-often used for symbolic purposes to reinforce the significance of an object
	-may also be used to intensify an emotion--an extreme close-up of an actor 	generally only includes his/her eyes or mouth
	-often used as a Cut-In, an instantaneous shift from a distant framing to a 	closer view of some portion of the same space

	Close-Up
	-a detailed shot usually showing just the head or a small, significant object
	-used largely to isolate a character from the setting and from all other 	characters so that the audience will pay attention only to that character; films 	with many close-ups tend to feature characters who are lonely, cut off from 	each other, and isolated from society

	Medium Close-Up
	-the figure is framed from the chest up

	Medium Shot
	-the figure is framed from about the waist up

	Medium Long Shot
	-a balance between figure and background; the figure is usually framed from 	about the knees up

	Long Shot
	-figures are more prominent, but the background still dominates; the image 	roughly corresponds to the audience’s view of the area within the proscenium 	arch in live theatre
	-the Long Shot or the Extreme Long Shot are often used as Establishing 	Shots, ones that orient the audience to location and surroundings, showing 	the spatial relations among the important figures

	Extreme Long Shot
	-a panoramic view of an exterior location, photographed from a great distance, 	often as far as a quarter-mile away; often used to frame landscapes or 	bird’s-eye views of cities
	-the human figure is barely visible or not visible at all

ANGLES:  the camera’s angle of view relative to the subject being photographed

	High Angle
	-”looks” down on the subject
	-the Angle of Destiny is a decidedly high angle shot that suggests an 	omniscience, a moment of great contemplation of decision--often held for an 	extended period of time

	Low Angle
	-the camera “looks” up at the subject
	-often used to give the figure a dominate and powerful presence; the audience 	is made to feel submissive

	Flat Angle
	-the camera is at eye level and on the same plane as the subject

	The Canted Camera Shot (also known as Dutch Angle)
	-the central frame seems unbalanced in relation to the space and action
	-often used to suggest a subjective viewpoint, such as that of a person who is 	drunk, or to suggest a symbolic unbalance, such as a world that lacks 	harmony and balance

EDITING TRANSITIONS:

Reaction Shot:  This shot is usually employed to show the effect that someone’s words or actions have on another individual, or to show how a character reacts generally to a particular scene.  A reaction shot may be a close-up to catch a look of surprise or fear, or a medium shot to show a person’s body language.

Point of View Shot (POV) (also known as an eye-line shot):  Any shot that is taken from the perspective of a character in a film; we, as the audience, sees what he sees.  It may be a brief insert shot, or a longer shot to make the audience feel complicit in the character’s perspective.  Usually in an edited sequence, a character appears to look at something, often in close up; this is followed by a cut to a POV shot from the character’s perspective, followed by a reaction shot.

Shot/Reverse Shot:  Two shots, commonly linked, each aimed nearly 180 degrees opposite the other, usually used to show two people talking and listening to each other

OTHER KINDS OF SHOTS:

The Hand-Held Shot:  The camera is carried, approximating the actual jerky movement of human progression, by the camera operator; the shot may be, in some ways, more intimate and realistic, suggesting the subjective perspective of the individual.

The “Push In”:  The camera, either slowly or swiftly, tracks up to the subject’s face; it is usually used to build tension leading to a sudden epiphany

The Spiral Shot:  The camera “circles” around an individual or a group of people (usually gathered around a table)--it may be a quick spiraling motion to suggest disorientation or panic, or a slow circular motion to suggest languidity or encourage close listening