Perspective is one of the most powerful weapons in the film maker’s arsenal; without it, the interplay between story, narrative, character and situation would not exist.
Inspired by the short film “Doodlebug” made by Christopher Nolan when he was first starting out, this film attempts to create a paradoxical loop through the use of perspective. Below, each frame has been deconstructed to present its perspective and demonstrate the desired effect upon the audience.
To star in the film, the dust has been blown off Sony Boy, a promotional character introduced to the market in the 1950’s and widely used throughout the 1960’s in Sony advertising and sales promotions. He has been placed in a simple environment so as to explore dramatic effects simple perspective techniques can have upon an audience.
The same space and the same object, but from different perspectives. A simple setting is completely transformed with the careful placement of the lens.
1) This one-point perspective shot establishes Sony Boy in a space. This symmetrical composition provides a base from which to progress.
2) This bird’s eye view isolates Sony Boy within his surroundings, reducing his stature, and creates a vantage point rarely experienced in day to day life.
3) A shot taken from almost the complete opposite angle, providing a ‘worm’s eye’ view of Sony Boy. Often, a shot taken from a low angle is utilised to create a sense of power and dominance for the focal point; however, in this instance Sony Boy is a small figure in the frame, helping to add to the next development.
4) He turns to find a giant doppelganger peering in. Due to the positioning of the camera, the size of the second Sony Boy, and his position looking down upon the smaller Sony Boy, a power dynamic has automatically been created.
5) The audience are presented with a shot taken from point of view (POV) of the larger Sony Boy, further highlighting the smaller Sony Boy’s isolation and smaller stature.
6) The film cuts back to the shot inside the box as the larger Sony Boy closes the lid, consolidating the smaller Sony Boy’s lack of control over his environment, and subservience in the power dynamic.
7) This new perspective places the larger Sony Boy into a new context. No longer does he fill the frame; instead, the perspective offers a view of Sony Boy in new surroundings. To further play with audience’s perspective, Sony Boy makes a ‘knowing’ glance toward the lens, thereby breaking the forth wall and placing the audience in a position of collusion; the observed acknowledging they’re being observed.
😎 The cycle continues by returning to the low angle shot, but with a tighter frame so as to propel and develop the scene. This perspective also reveals the larger Sony Boy appears to be in similar situation to previous smaller one.
9) As before, Sony Boy turns to find he is also being observed by a larger alter ego. A new power dynamic is being created.
10) A tighter POV is created to continue and develop the theme.
11) Cutting back to the previous frame completes the creation of the new power dynamic between the Sony Boys.
12) With this final frame, a close up of Sony Boy’s face, the paradoxical circle comes full circle, closing in on the Sony Boy as the lid shuts over him, plunging the box into darkness.
As demonstrated, the simple position of a lens, and the placing of one character in relation to another has a considerable affect upon a dramatic scene in action. Through these universally utilised perspective techniques, a sense of place is created, the dynamic between characters is established and developed, and a story is pushed forward through time.
