Students keep pointing to the last shot in TAXI DRIVER, as well as the final crane in GONE WITH THE WIND.... Those might be of help?

~Bjorn
 
Dr. Bjorn Ingvoldstad
Assistant Professor of Media Studies & Communication Technologies
Department of Communication Studies
Bridgewater State College
508.531.2802
[log in to unmask]
http://bsc-comm.blogspot.com

"That there exists a Céline Dion antisexist dancehall-reggae
anthem is nothing short of the sort of Ripley's Believe It or Not
item that makes it a joy each morning to wake up alive."
          ~Carl Wilson, in LET'S TALK ABOUT LOVE:
                                           A JOURNEY TO THE END OF TASTE

________________________________

From: Film and TV Studies Discussion List on behalf of Scott Wilson
Sent: Mon 10/13/2008 4:03 PM
To: [log in to unmask]
Subject: [SCREEN-L] God's-Eye POV



Dear all;
a student of mine is engaged in a research project exploring the history, use and implications of the God (or God's-Eye) POV shot. We've ticked off the usual suspects (Hitchcock; Von Trier etc) and are wondering if you know of any examples off-hand, or of any attempts to theorise this shot in particular?

Best,
Scott.

Dr. Scott Wilson
Programme Co-Ordinator: Performing and Screen Arts Theory.
Screen Studies Co-Ordinator & Lecturer
School of Performing and Screen Arts
Unitec New Zealand
Te Whare Wananga o Wairaka
Private Bag 92025
Auckland, New Zealand
Extension 7855

----
Online resources for film/TV studies may be found at ScreenSite
http://www.ScreenSite.org <http://www.screensite.org/> 




----
For past messages, visit the Screen-L Archives:
http://bama.ua.edu/archives/screen-l.html