Moving Images, Understanding Media

Chapter 1 Motion Picture Language 17

When filmmakers set up the sequence of shots between the actors,

they will generally decide on shooting the scene from one side of the

axis, which is this imaginary line between the two subjects. In the boys’

game of catch, the path of the ball creates the line. Even though this

concept seems quite easy to apply when shooting, it can become very

tricky when characters move or if there are more than two characters

talking to each other. In a group conversation, it can be very important

to get screen direction exactly right in order to know who is addressing

whom at specific moments.

Another way to imagine this is on a fi lm or television set with three walls. If

the actors are sitting at opposite ends of a table in the middle of the set, the camera

crew will set up the camera on the open side of the set to always have the walls of

the set in the shot. If you moved the camera to the other side of the table—crossing

the axis line between the actors—the completely open side of the room (or the

audience, if there is one watching a show being taped) is revealed.

Directorial Decisions

As we asked before with the concept of time, one question is “Do we have to

follow this rule?” Again, the answer is “Defi nitely not!” However, it is important

to understand why one would employ this technique or not. If the style that is

being established in a movie expresses a clear, measured tone in the look and

editing of its sequences, it is generally appropriate to respect the axis in editing.

If the axis is crossed by the camera at random moments, it could simply look

amateurish and confusing, as is sometimes the case in poorly directed fi lms.

On the other hand, many directors play around with space to compel

the viewer to look at the scene or the space in a variety of ways or from a

confusing viewpoint. Many action movies of the twenty-fi rst century are

Figure 1-22 When we see these two shots fi lmed from one side of the axis, we assume the characters

are talking to each other because of a match cut between their glances and other visual cues. (Courtesy

of Kendelyn Ouellette).

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