The new issue of
Frames Cinema Journal -- "
Making Meaning of the Visual: Space and Identity" -- has just been published. I have a paper in it. It's titled:
Popeye Doyle in the Rearview Mirror: Has the POV Shot Lost its Human Identity? You can read it for free.
It's about editing techniques for "cueing" POV shots, and our experience of identification with a character if these cues work. The paper starts with the famous chase scene in The French Connection, looks a little into the convoluted theory behind "identification," and then considers how the use of stabilized cameras and "documentary-style" camera work changed the use of cued POV shots.
So go and read the article.
