The POV or point of view is commonly marked as the sequence in a film wherein the cinematic shot is driven from the very personal impression and outlook of the actors within the film. The film detail is utilized by approaches that is comprised a precipitating opinion and various editing practices. In P.O.V. films, a scene is subjected to successions of formulations and configurations in which the point of the cinematic camera apparatus should meet and be equal to the very direct and exact line of sight of the moviegoers. POV in films defines how a character take-in something that his or her eyes are beholding.
During the 1920s, the strategy of P.O.V. in films began to be exercised by the filmmakers. It was most especially, on the film entitled Napoleon where the filmmaker bring into play the succession of events that displays how the youthful Napoleon is being discerned while in the middle of a brawl against the boys who are much older than him. In fulfilling this particular POV impression, sponge padding was made to envelop the camera in order for the dramatis personae to hit the camera with their fists. In POV film, in short, the cinematic camera also becomes a character and assumes the roles of the actors themselves.
Exposure to Cinema & Movement
A Point Of View shot may not just necessarily be distinguished an authoritarian outlook of film viewers. Even if the camera apparatus takes a shot over the shoulder of the subject, the shoulder can still be seen. The dramatis personae who portray a character define the point of view of the movie goers. At the same time, the cinematic camera apparatus that meets the eye of the film actor in a scene likewise, becomes the point of view of the actor.
Many film institutions have broadened the application of POV has become effective in their tactical ventures on their cinematic masterpieces. The most notable example to a POV Film is the 1927 film entitled “Napoleon” by Abel Gance. In the film Napoleon was illustrated as a youngster who was engaging with a fight against a number of men who bullies him.
In the film, Napoleon, serves in the army, however, because of enviousness, he got imprisoned and was eventually released. This film was noted for the flowing movements of the camera. The specifications of POV film is manifested with the manner of how the filmmaker wielded and included the vital participation of the camera in every scenes of this film. The means of transforming the camera as if it is a character in a film, defines the essence of the point of view, between the camera, the actors and the film viewers themselves.
The thrilling scene successions in a film such as car chases, airplane somersaults, and some other exhausting confrontation that can relate to the viewers, are also considered as the prospect for the P.O.V. films. In the ventures of POV film production, the filmmakers creates many camera mounting and positioning in order to achieve the type of shot that they need in meeting with what the POV shot demands them to create and do. To complete the process, a supplemental dialogue and storyline is also added to define exactly the capture of the audience being an aspect of a POV slide. The camera sequencing, sound score and the actor depiction of the character should also be comprised into the P.O.V. filming as a whole.
The application of POV in many of his narratives are also being observed and practiced in a wide range of coverage. In terms of the masterly measures of the P.O.V. approach, the apparatus and the resources are more advanced and demands an in-depth orientation and reinforcements. The manifestations, nonetheless, also suffers a few setbacks. The industry oftentimes are faced with matters of accessibilities that are mostly unmanageable.