Point of view is one of the most important and basic elements of film making. Like with written storytelling, the point of view can range from first to third person depending on the positioning of the camera.
Third Person
The third person is the most objective point of view. The viewer simply watches the action unfold, without seeing the point of view of any of the characters. The camera plays no part in the action and the viewer sees the scene as if it were a play on a proscenium stage. This is the same as in literary works when the author uses pronouns such as 'he', 'she', and 'they'.
First Person
When the camera sees the point of view of one of the characters with either an over the shoulder shot or simply a shot of an object the character is looking at, the point of view becomes first person. The perspective is through the eyes of the character.
A completely subjective shot is when the camera actually is the eyes of a character and other characters communicate directly to the camera. In this case, the viewer can only see what the character sees and nothing more. This is almost never done for a full length film. It is most commonly seen in suspense movies when, for a few seconds, the camera becomes the eyes of the killer, slowly following the victim. This only happens for a short time in the shot usually. The most drastic example of first person film is in the film The Lady in the Lake (1947). This film noir is shot entirely from the point of view of the detective trying to solve the case of a missing woman. The viewer only knows what the detective knows and can only see what the detective sees. Mirrors are creatively used throughout the movie to show the face of the detective when he peers into them. Other than these few instances, the viewer does not see the detective. Characters talk directly to the camera, creating a personal experience for the viewer.
It is important to be careful with this type of point of view within a film. If the subjective shot is unintentional or shot incorrectly, it makes the viewer acutely aware of the camera which ruins the illusion of the film and breaks the 'fourth wall'. When it is well done, like in The Lady in the Lake, this technique can be an effective form of storytelling.
Third Person
The third person is the most objective point of view. The viewer simply watches the action unfold, without seeing the point of view of any of the characters. The camera plays no part in the action and the viewer sees the scene as if it were a play on a proscenium stage. This is the same as in literary works when the author uses pronouns such as 'he', 'she', and 'they'.
First Person
When the camera sees the point of view of one of the characters with either an over the shoulder shot or simply a shot of an object the character is looking at, the point of view becomes first person. The perspective is through the eyes of the character.
A completely subjective shot is when the camera actually is the eyes of a character and other characters communicate directly to the camera. In this case, the viewer can only see what the character sees and nothing more. This is almost never done for a full length film. It is most commonly seen in suspense movies when, for a few seconds, the camera becomes the eyes of the killer, slowly following the victim. This only happens for a short time in the shot usually. The most drastic example of first person film is in the film The Lady in the Lake (1947). This film noir is shot entirely from the point of view of the detective trying to solve the case of a missing woman. The viewer only knows what the detective knows and can only see what the detective sees. Mirrors are creatively used throughout the movie to show the face of the detective when he peers into them. Other than these few instances, the viewer does not see the detective. Characters talk directly to the camera, creating a personal experience for the viewer.It is important to be careful with this type of point of view within a film. If the subjective shot is unintentional or shot incorrectly, it makes the viewer acutely aware of the camera which ruins the illusion of the film and breaks the 'fourth wall'. When it is well done, like in The Lady in the Lake, this technique can be an effective form of storytelling.
