In most scenes of the villains hideouts, the camera is shot at a Dutch angle.

The Dutch angle is an overt cinematographical technique that can easily be overused.

The film was shot almost entirely in Dutch angles, meaning the vast majority of shots are framed diagonally, or "tilted."

Film noir is also known for its use of low-angle, wide-angle, and skewed, or Dutch angle shots.

The crew was surprised when Raimi began using dutch angles during shots to build atmosphere during scenes.

Other disorientating devices like dutch angles, mirror reflection and distorting shots are employed throughout the series.

The science-fiction film Battlefield Earth (2000), in particular, drew sharp criticism for its pervasive use of the Dutch angle.

Distinctive elements of Casale's visual style include dutch angles, desaturated color, and color washes on images.

His cinematography and directorial style often features Dutch angles, a highly saturated color palette, and/or low-key lighting.

The 1949 film The Third Man makes extensive use of Dutch angle shots, to emphasize the main character's alienation in a foreign environment.

It's just an opportunity for them to get the hang of it, not to take the show in some bold new direction with dutch angles all over the place.

In cinematography, the Dutch angle is one of many cinematic techniques often used to portray the psychological uneasiness or tension in the subject being filmed.

Special effects like Dutch angles, explosions, motion blurs, and Wild Takes have also been added to give a more cinematic and dramatic look.

In his The Evil Dead trilogy, Sam Raimi used Dutch angles to show that a character had become possessed.

Almost all aspects of the film were criticized: hammy acting by Travolta, the film's overuse of Dutch angles, corny dialogue, and several plot inconsistencies.

A special type of Dutch angle is the Bavarian angle, where the angle is changed by 90 from the common angle where horizontal lines become vertical.

The show had a distinct visual style involving Dutch angles and shots from cameras placed inside and on various items in the kitchen, including the ovens, refrigerator, and microwave oven.

There are a number of rapid cuts in the film which throw off the viewer's sense of spatial orientation, and Dutch angles are used to imply that reality is off-kilter.

The atmospheric use of black-and-white expressionist cinematography by Robert Krasker, with harsh lighting and distorted "Dutch angle" camera angles, is a key feature of The Third Man.

A dutch angle, also called a canted angle or even simply the tilted angle, is an angle in which the camera itself is tilted to the left or the right.

Many Dutch angles are static shots, but in a moving Dutch angle shot the camera can pivot, pan or track along the established diagonal axis for the shot.

Dziga Vertov's 1929 experimental documentary Man with a Movie Camera is known to contain usages of the Dutch angle as well, among other innovative techniques discovered by Vertov himself.

The episode ends with a shot featuring a Dutch angle; Hunter was the only director on the series who Frost and Lynch allowed to use this shot, which was otherwise forbidden.

The cinematography of Mikhail Kalatozov and the cinematographer Shalva Gegelashvili has been described as expressionistic due to its use of dramatic shadows, silhouettes against a dramatic skyline and Dutch angles.

A Dutch angle differs from a high-angle shot and low-angle shot in that those refer to placement of the camera in height relative to the subject, which for human subjects is mostly defined by a person's eye-line.