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Here's a more useful definition from The Dictionary of New Media:

Eyeline Match
An editing rule: the alternation of two shots, the first showing a
character looking off-screen, the second showing what he’s looking at.
A rough sense of scale and distance is kept, but not necessarily
perspective—that is, every Point-of-View Shot is an eyeline match, but
every eyeline match is not necessarily a POV shot.


On Mar 14, 2004, at 9:25 PM, gloria monti wrote:

>        *Film Art* 7th edition states:
>
> *eyeline match*: shot A presents someone looking at something
> offscreen, shot B shows us what is being looked at.
> *POV shot*: a cut from a person looking to what he sees.
>
>        Where is the difference, here?   My understanding was always
> that in a POV shot, the spectator "becomes" the character looking and
> sees what s/he sees and the character looking is never onscreen.
> Whereas the eyeline match shows the character looking and what s/he
> is looking.  However, FA also states that in the case of the eyeline
> match, "in neither (A and B) shot are both looker and object present.
>        Thoughts?
>
>        Gloria Monti
> ______________________________
> gloria monti, PH.D.
> cinema studies program
> oberlin college
> 10 n. professor st.
> oberlin, OH 44074
> phone: 440-775-6015
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> ________________________
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> "It's a big garage."
> Jean-Luc Godard
>
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