How can you have a point-of-view shot of More looking at the torch if he hasn't opened his eyes yet?

Sometimes the point-of-view shot is taken over the shoulder of the character (third person), who remains visible on the screen.

Driver's point-of-view shots were used to give the audience a participant's feel of the chase.

(It also uses some tried and true film techniques, including that scary movie staple, the bad guy's point-of-view shot.)

High and low angles are often used as point-of-view shots in which we are seeing the scenes through the eyes of one of the characters.

A point-of-view shot is as close as an objective shot can approach a subjective shot - and still remain objective.

Mr. Carlei likes point-of-view shots.

I'd worried it might stir entirely different associations--how about that cute point-of-view shot of a piece of the faceplate tumbling away?

The cinematography is bold but also a little silly; it favors curious close-ups and point-of-view shots from positions no one could ever get into except a movie director.

The first act follows Oscar's nightly routine through strict point-of-view shots, including momentary blackouts that represent blinking, and extended sequences of drug-induced hallucination.

During the opening sequence, a Point-of-view shot is used inside a car to feel like the viewer is along for the ride with Benni to the boarding school.

Although they're invisible to each other, the tense, almost physical intimacy that develops between the two sharpshooters is conveyed through eyeball-tight close-ups and carefully framed point-of-view shots.

Eddie had seen thousands, and what he was looking at was like one of those moving point-of-view shots they did in ones like Halloween and The Shining.

"They do that first point-of-view shot of the torch, like it's More looking at it as he wakes up, but then they cut back to him and his eyes are still closed.

Yet the metaphysical style is most vividly rendered by Murnau's obsessive use of point-of-view shots, which force a viewer to follow the characters into the abyss of their terrifying visions.

He picks up on little details, in shots that aren't point-of-view shots, that suggest an inner aperçu on the part of a character-something that Ross, in effect, notices a character noticing.

In a scene where Faith in Buffy's body tries to seduce Riley, the camera "cut[s] to a medium close-up shot of her leather-clad backside", ostensibly Riley's point-of-view shot.

Few recent movies make such sharp use of point-of-view shots; few conjure so vivid a sense of thinking by way of vision itself-or connect life experience so closely to the actual act of looking.

After a while, Mr. Cerdà exhausts his repertory of spooky effects - too many dark hallways and illogical, foreboding point-of-view shots - and you begin to hunger for exposition, always a bad sign in a horror film.

Combining these sequences with the Point-of-view shot, it is though the viewer of the film is seeing what Benni is going through when he is on his way to the new school to start a new chapter in his life.

Two point-of-view shots were achieved by building a large wooden hand (which would appear to belong to the character whose point of view the camera took) and out-sized props for it to hold: a bucket-sized glass of milk and a large wooden gun.

"In movies people often do flashbacks and point-of-view shots as a gauzy, mysterious, distant kind of image," Trumbull recalled, "And I wanted to do just the opposite, which was to make the material of the mind even more real and high-impact than 'reality'".

The ScreenRant.com review called the film a "solid revival of a genre that's gone rather stale in the last decade" and said, "With its throwback synthesizer score, sustained point-of-view shots, and shadowy lighting, the preview certainly evokes a sense of gut-churning dread."

One writer for Paste Magazine noted that the "brilliantly shot" episode had a "Hitchcockian feel", and pointed to the use of "reverse point-of-view shots" and "close-ups of hands on doorknobs that added an air of suspense not usually present on Mad Men."

He is fond of strategically placed reflections, like a victim's face flickering in the glint of a knife blade, and of unexpected point-of-view shots: from the bottom of a thirsty dog's water dish, through the dripping fangs of an attacking vampire, or under the bristles of a broom as it sweeps a dusty floor.