ABSTRACT
What is narrative point of view? The point of view (POV) shot. Nature of the “narrator.” Narrative POV (NPOV) and voice-over (Barry Lyndon). Impact on the audience’s relationship to the characters. NPOV in film rarely analyzed. “Mirror” emotions. The love of gazing (Rear Window). NPOV a foundation of storytelling. NPOV in literature. Third-person omniscient. Third-person objective. Third-person limited or intimate. Third-person intimate as the predominant form of NPOV in visual storytelling. NPOV in the screenplay. Parity of knowledge. NPOV in Throne of Blood. Single NPOV, dual NPOV, multiple/ensemble NPOV. Difference from narrative perspective. Cognitive, perceptual, visceral, emotional NPOV. Sympathy, empathy, identification (Pan’s Labyrinth). The director’s articulation of NPOV. Introduction of the protagonist’s NPOV (Three Colors Blue, Roma). The continuous POV shot (All Falls Down). NPOV articulated through editing (The Insider, The Coal Miner’s Daughter). Shifts of NPOV (Notorious). Other terms: third-person voyeur, third-person obscured, third-person ignorant, third-person “follow and accompany” (American Honey). Hyper POV. NPOV and sound design.
