In cinematography, diegesis refers to the world of the film and what’s happening inside it.
Diegetic gaze is described as the way the audience interprets different elements of the film, e.g. how a specific shot enhances or alters the tone of a scene
Intra-diegesis used within Hell or High Water (2016) during a sniper rifle shootout with police.
Intra-diegetic gaze is used when the audience is placed within a character’s viewpoint, typically as a first person view, e.g. during scenes where a sniper rifle is in use – the camera typically follows the perspective of the scope.
Deadpool “breaking the 4th wall” in Deadpool 2 (2018)
Extra-diegetic gaze, often known as “4th wall breaking”, is used when a character addresses the audience by either looking into the camera, or talking to them through monologue, e.g. films such as Deadpool use this to stand out from other films in their genre, emphasising comedic elements of the film.
Cinematography is the art form behind motion pictures. It involves the use of camera angles and various elements of mise-en-scene, such as setting, camera movement, and lighting.
A highly recognised art in film, cinemaphotography has a wide range of talented directors who’ve put their own spin on their practice, such as unique camera angles or intense camerawork, some of which is covered in the documentary “Visions of Light: The Art of Cinematography”.
The camera pans to a wide angle, and moves across following the protagonist across the his room. We see the lighting is harsh and natural from lamps and ceiling lights around the room: this is an example of verisimilitude. Furniture pops up as the camera moves in the room as the narrator speaks as if he was speaking in conversation. Interestingly, as the camera pans across catalogue-style text detailing each piece of furniture that appears. Though seemingly unnatural, the style of a catalogue and anchorage of the furniture makes it seem natural much like a furniture show. The Narrator is wearing a tie and shirt, unbuttoned and rugged- he looks and speaks about being tired, his clothing reflects this. As each item pops up, the price tag follows and counts up as the scene continues.
In the TV programme ‘Fleabag’, we follow a mid-20s character called Fleabag as she experiences and reacts to the life around her.
Extra-Diegetic shots are used in this programme to immerse the audience with the character fleabag. She often turns around to talk to us and comments wittily on her situation and irony. This has the effect of us empathising too, and even seeing ourselves in Fleabag’s position.
The shot is focused in on Fleabag, but leaves the Priest in the background- showing their relationship and how she talks to us about her issues as they happen.
Intra-Diegetic Gaze
Here is an example of an intra-diegetic gaze in Pulp Fiction, where the audience is put in the perspective of a ‘body in the boot’. This frames the protagonists above the viewer’s perspective and makes them powerful in contrast.
Intra-Diegetic Gazes are used to put viewers in a viewpoint of a character in film.
Diegetic Perspective
This is an example of Diegetic Perspective in Fear and Loathing in Las Vegas. Here we are kept in focus on Hunter S. Thompson, as he focuses on something else- a forced perspective.
Diegetic Perspective forces a point of view for audiences in a film.
2. Examples of Shot Distances
This is an example of a Long Shot used in Kill Bill, that has the effect of staging the two characters before a climactic fight scene.Here is an example of a close-up shot from Amelie. It has the effect of engaging the viewer as if Amelie is speaking to them, and gives her a mischievous agenda.Here is an example of an Ultra-wide shot used in No Country for Old Men. It has the effect of showcasing the protagonist in relation to the vast world around him, and setting a scene for the audience.
3. Camera Angle Examples
This is an example of the Dutch Tilt in Fear and Loathing in Las Vegas. This has the effect of exaggerating the unusual and unsettling hallucinations the protagonists has, and does so by off-centring the imagined horizon of the setting.This is an example of a High Angle shot from The Shining. This frames our protagonist Danny as vulnerable, and puts the audience in a position as if we are a threat watching him closely.Here is an example of a Low Angle Shot in Death Proof. This creates the effect of framing characters as powerful, and the trunk shot used by Tarantino is especially effective of this.
4. Camera Movements
This is an example of the Dolly Zoom, where the camera zooms in while moving backward to create the effect of changing the depth of field. This shot is particularly commended as it represents the protagonists in relation to the greater city.This is an example of the tracking movement shot from Charlie’s Angels. As the protagonist on the right moves about the plane, the camera follows smoothly in one single take. It has the effect of creating a smooth, immersive opening to the film.This is an example of a Track-in Shot from The Doors. This shot centres the main protagonist Jim Morrison during his Performance, and exaggerates the emphasis on his story.
5. Depth of Field
The Depth of field determines what is, and isn’t in shot.
A shallow focus means there are typically less subjects in focus, and only a little movement from a subject is required to be out of focus.
On the other hand a deeper focus means there are typically more subjects in focus, and much more movement is required to be out of focus.
In The Wolf of Wall Street, cinematographer Rodrigo Prieto uses depth of field in this shot to emphasise Jordan Belfort’s success and individuality in contrast to his employees who are out of frame.
