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Subjectivity in Art and Film — Film has a singular ability to put an audience in a character’s shoes, and in this video, we dissect how a filmmaker can create a character’s perspective.

How to Create Subjectivity in Film ►►
StudioBinder Screenwriting Software ►►

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Special thanks to:
Shot, Drawn & Cut ►►
Variety ►►
The Editing Podcast ►►

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00:00 - Introduction to Subjectivity in Film
01:00- Subjectivity Defined
02:51 - Chapter 1: Writing
06:28 - Chapter 2: Cinematography
1205 - Chapter 3: Post Production
18:31 - Takeaways

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MOVIES THAT USE PERSPECTIVE

All movies have a point of view. A truly objective film, one independent of personal opinion or emotion, is impossible. A filmmaker’s viewpoint will always be present. Even if a movie is a single, locked off shot, the filmmaker chooses when to begin and end the shot, where to place the camera, how to light the scene, and so on.

But filmmakers can also emulate the perspective of their movie’s character, creating sequences that are colored by a character’s subjectivity. In this video, we break down why this is so important and how it can be achieved.

SUBJECTIVITY IN WRITING

Subjectivity can begin on the page. Most screenwriting textbooks will preach objectivity, instructing writers to only write what the camera can see. But, when done deliberately, infusing subjectivity into the script can hint at a director to shoot from a specific point of view. We look at the scripts for May December, Pirates of the Caribbean, and more to see how one can write from a character’s perspective without necessarily breaking screenwriting rules.

SUBJECTIVE CINEMATOGRAPHY

Probably the most obvious form of subjective cinematography is the point of view shot. This is where the camera is literally representing what a character is seeing. But not all subjective camera work needs to be so obvious.

A director of photography can use camera movement, lens choices, color, and shot size to subtly inhabit a character’s subjectivity. Think, for example, of a shot where a character is stressed. To emphasize this stress, the cinematographer may opt for a handheld, shaky camera, as can be seen in The Killer.

EDITING SUBJECTIVITY IN FILM

Editing can further place an audience in a character’s head. Think of the iconic slow motion shot when Richie sees Margot in The Royal Tenenbaums– by slowing the footage and placing a wistful song under it, the editor effectively makes us feel as entranced as Richie. Special effects can be used as well. In Midsommar, subtle distortion effects are used to show us what Dani is seeing after she consumes the mushrooms.

Subjectivity in film is incredibly powerful. Using writing, cinematography, and editing, a filmmaker can get an audience to empathize with a character they may be nothing like. This is one of the great promises of filmmaking, exposing audiences to new worlds and viewpoints. The next time you start filming, think about what your character might be thinking and how you could use filmmaking techniques to illustrate those thoughts.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Coming to L.A.” - John Carpenter
“8 1/2 Soundtrack Suite” - Nino Rota
“Dead Already” - Thomas Newman
“Pacific Gas” - Satggolee
“Elizabeth Drives” - Marcelo Zarvos
“Amuse Bouche” (Reprise) - Colin Stetson
“Walk The Plank” - Klaus Badelt
“Hamburger Lady (Carter Tutti Remix)” - Throbbing Gristle
“Spider Research” - Paul Buckmaster
“These Days” - Nico
“Rebuilding” - Danny Elfman
“A Message” - John Carpenter
“Never Hesitate” - Trent Reznor and Atticus Ross
“Aegus” - Makeup and Vanity Set
“Fight Club” - The Dust Brothers
“This is The End” - The Doors
“The Exorcist III Main Theme” - Barry De Vorzon
“Sicario” - Jóhan Jóhannsson
“Elena’s Sound World” - Sinoia Caves
“The Sound of Silence” - Simon & Garfunkel
“Let’s Go” Little Miss Sunshine
“One of The Many” - Trent Reznor and Atticus Ross
“How Soon Is Now?” - The Smiths
“Bunsen Burner“ - CUTS
“Candy Shoppe“ - Emeralds

Music by Artlist ►
Music by Artgrid ►
Music by Soundstripe ►
Music by MusicBed ►

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