Objective and subjective Camera

With the cinema, one distinguishes the sights known as in subjective camera , or plane subjective , of the sights known as in camera objectifies .

General information

In subjective camera , the camera is the prone of the action; the point of view of the Caméra is then that of a character, so that the spectator has the feeling to share the visual perception of this one. It takes part to accentuate the process of identification to the character on behalf of the spectator.

In the very large majority of the cases, the scenes are filmed in camera objectifies . The camera is a object in the broad sense: it is only seldom about a material object (the camera is in general located at a place where there is no object in the scene), it is only seldom about the object of the action (in the direction: it on what the action is exerted).

Cinematographic use

The process of the subjective plan is generally used in a specific way in a film, to support the effect. For example, the commander of the submarine looks through his periscope, the image “will be thus equipped” with reference marks with aiming, as if the spectator looked at itself through the periscope; a protagonist hides behind a bush for épier a scene, the image will thus have in the foreground of the sheets and branches which will obstruct the sight of the scene. The effect is all the more supported that the camera will have been held with the shoulder and will undergo the movements, slightly but indeed perceptible, of the cameraman, making more credible the human point of view.

The process can go until being employed like exercise of style over the complete duration of film. The first film entirely made out of subjective camera is the Lady of the lake ( Lady in the Lake , 1947) of Robert Montgomery adapted of a black novel of Raymond Chandler. The idea was to make of the spectator the private detective progressing in his investigation. More recently, the defended Woman of Philippe Harel (1997), uses also the process in a permanent way. Its use consists in plunging the spectator in the intimacy of a couple. In the skin of John Malkovich of Spike Jonze (1999) there also has resorts punctually, at more comic ends.

Lastly, it can be used without explicit reference to one of the protagonists, but to accentuate the tension, like the stage performance filmed since the room in Opening Night of John Cassavetes (1978), or one of the evenings between friends of How I disputed… (my sexual life) of Arnaud Desplechin (1996). In this case, it is directly the spectator whom the realizer puts in scene, or concerned.

The film Doom of Andrzej Bartkowiak (2005) is an adaptation of a video game itself in subjective sight (see hereafter). To stick as well as possible to the play, the realizer chose to place his camera at certain times of film in the eyes of his actors to give the impression to play.

Use in the Video games

The principle of subjective camera is also used in the video games. The objective of this mode of visualization is the immersion of the player in the action which the character is carrying out. One often speaks about play “to the first nobody” (first person) , the plays in objective vision being qualified plays “with the third nobody” (third person) .

A great number of plays of action or plays of adventure (called wrongly roleplays) is based on this principle.

See too

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