Camera Angles

Angle of Framing in cinematography can be used to indicate the relation between a character and the camera’s point of view. Cinematographers use many methods in order to imply meaning or evince the director’s meaning and purpose. Of these methods, the angles in which a specific segment is shot are powerful techniques in order to convey meaning or understanding. Three commonly used angles are Eye Level Shots, Low-Angle Shots, and High-Angle Shots.

The first are eye level shots, which are segments shot at an angle that is eye-level with the actor. This is used to put the audience on an equal footing with the actor, more commonly used in films where the audience feels comfortable with the actor. In the example below from Into the Wild, Emile Hirsch’s character is shot at eye-level so that the audience is directly involved with what he is trying to accomplish. This helps the audience see through his eyes and identify with his predicament.

The second angle is the low-angle shot, which is an example of a segment shot at a low-angle, making the actor or whatever is being filmed seem extremely large and powerful. In the example below from the movie Full Metal Jacket, the Drill Sergeant is often filmed at a low-angle in order to intimidate the audience according to his power and stature. The audience sympathizes with the soldiers training because this display of power helps the audience realize the overwhelming hardships of the soldiers.

The third angle is the high-angle shot, which is similar to the low-angle shot, only at a high-level. This type of shot emphasizes weakness and inferiority, making the images seem smaller and more powerless than it may naturally seem. Cinematographers use this to help the audience sympathize with the mediocrity of the scene or person(s). These angles are also commonly used in Film Noir films. In the example from The Color of Paradise below, the father assumes ultimate role over his blind son and elderly grandmother, which is why the father is usually shot at a low-angle. In the picture, the blind son and the grandmother are shot at a high-angle, emphasizing their dependence and smallness.