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234:), Jean-Luc Godard breaks the rule in the first five minutes in a car scene which jumps between the front and back seats, improvising an "aesthetic rebellion" for which the New Wave would become known. When the rule is broken accidentally, or for a technical reason (such as the inability to place a camera physically in the correct position), there are techniques which may be employed to attempt to hide it. For example, the editor may pre-lap a word or two of dialog prior to the
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seen walking into frame from behind on the left side walking towards a building corner on the right, as they walk around the corner of the building, the camera can catch them coming towards the camera on the other side of the building entering the frame from the left side and then walk straight at the camera and then exit the left side of the frame.
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Another way to allow for crossing the line is to have several shots with the camera arching from one side of the line to the other during the scene. That shot can be used to orient the viewer to the fact that they are looking at the scene from another angle. In the case of movement, if a character is
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There are a variety of ways to avoid confusion related to crossing the line due to particular situations caused by actions or situations in a scene that would necessitate breaking the 180-degree line. The movement in the scene can be altered, or cameras set up on one side of the scene so that all the
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The imaginary line allows viewers to orient themselves with the position and direction of action in a scene. If a shot following an earlier shot in a sequence is located on the opposite side of the 180-degree line, then it is called a "reverse cut". Reverse cuts disorient the viewer by presenting an
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Broadly speaking, empirical research indicates that abiding by the 180-degree rule is not important in a practical sense. Accurate spatial representations are not important for the scene, nor is it remembered across the longer duration of a movie. Furthermore, more recent research demonstrated that
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Empirical evidence exploring the importance of maintaining the 180-degree rule is limited. The basic premise is that abiding by the rule helps keep characters on the correct side of the screen. Thus, it is assumed that if the rule is violated, it can lead to distraction, and disrupt the flow of the
86:
The rule also applies to the movement of a character as the "line" created by the path of the character. For example, if a character is walking in a leftward direction and is to be picked up by another camera, the character must exit the first shot on frame left and enter the next shot frame right.
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In a dialogue scene between two characters, a straight line can be imagined running through the two characters. If the camera remains on one side of this line, the spatial relationship between the two characters will be consistent from shot to shot. Shifting to the other side of the characters on a
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Some styles used with the 180-degree rule can elicit an emotion or create a visual rhythm. By moving the camera closer to the axis for a close-up shot, it can amp up the intensity of a scene when paired with a long shot. When the camera is moved further away from the axis for a long shot after a
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There has been research that demonstrated crossing the line can negatively affect the accuracy of spatial representation of the scene. Furthermore, flipping the characters' positions can disrupt the viewer's understanding of the relative orientations on screen. Violations appear to also affect
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Another example could be a car chase: If a vehicle leaves the right side of the frame in one shot, it should enter from the left side of the frame in the next shot. Leaving from the right and entering from the right creates a similar sense of disorientation as in the dialogue example.
587:
Hochberg, J., & Brooks, V. (1996). The perception of motion pictures. In M. P. Friedman & E. C. Carterette (Eds.), Cognitive ecology: Handbook of perception and cognition (pp. 205- 292). San Diego, CA: Academic Press.
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is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. The rule states that the camera should be kept on one side of an imaginary
624:
Kachkovski, G. V., Vasilyev, D., Kuk, M., Kingstone, A., & Street, C. N. (2019). Exploring the
Effects of Violating the 180-Degree Rule on Film Viewing Preferences. Communication Research, 46(7), 948-964.
30:
This schematic shows the axis between two characters and the 180° arc on which cameras may be positioned (green). When cutting from the green arc to the red arc, the characters switch places on the screen.
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can be utilized to denote time. If a character leaves the frame on the left side and enters the frame on the left in a different location, it can give the illusion of an extended amount of time passing.
606:
Magliano, J. P., & Zacks, J. M. (2011). The impact of continuity editing in narrative film on event segmentation. Cognitive
Science, 35, 1489-1517. doi:10.1111/j.1551-6709.2011.01202.x
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moment. This is then extrapolated to affect the rhythm, or emotions of the scene. However, these notions are rooted in filmmakers' subjective reports, rather than empirical evidence.
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The 180-degree rule enables the viewer to visually connect with unseen movement happening around and behind the immediate subject and is particularly important in the narration of
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Levin, D. T., & Wang, C. (2009). Spatial representation in cognitive science and film. Projections: The
Journal for Movies and Mind, 3, 24-52. doi:10.3167/proj.2009.030103
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spatial memory for the location of objects in a scene, but does not affect memory for the narrative, the order of unfolding events, nor the understanding of narrative flow.
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while viewers can spot violations, the presence of these violations have no effect on the enjoyment of the scene nor movie, when compared to not having violations.
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opposing viewpoint of the action in a scene and consequently altering the perspective of the action and the spatial orientation established in the original shot.
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Shimamura, A. P. (2013). Psychocinematics: Exploring cognition at the movies. Oxford, UK: Oxford
University Press. doi:10.1093/acprof:oso/9780199862139.001.0001
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Kraft, R. N., Cantor, P., & Gottdiener, C. (1991). The coherence of visual narratives. Communication
Research, 18, 601-616. doi:10.1177/009365091018005002
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Paprika. Dir. Satoshi Kon. By
Satoshi Kon and Seishi Minakami. Perf. Megumi Hayashibara, TĂ´ru Furuya, and Katsunosuke Hori. Sony Pictures Classics, 2006. DVD.
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can be included along the 180-degree line separating each side. This lets the viewer visually comprehend the change in viewpoint expressed in the sequence.
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Ascher, S., & Pincus, E. (2013). The filmmaker’s handbook 2013: A comprehensive guide for the digital age. New York, NY: Penguin.
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Kraft, R. N. (1987). Rules and strategies of visual narratives. Perceptual and Motor Skills, 64, 3-14. doi:10.2466/pms.1987.64.1.3
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Proferes, N. T. (2008). Film directing fundamentals: See your film before shooting. Burlington, MA: Taylor & Francis.
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238:, so that the viewer will concentrate on what is being said as a distraction from the breaking of cinematic convention.
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643:, two articles explaining the 180-degree rule in depth (showcasing examples and counterexamples from various movies).
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In professional productions, the applied 180-degree rule is an essential element for a style of film editing called
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Frith, U., & Robson, J. E. (1975). Perceiving the language of films. Perception, 4, 97-10. doi:10.1068/p040097
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Paul Seydor, “Trims, Clips, and
Selects: Notes from the Cutting Room,” The Perfect Vision no. 26 , 27.
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Bordwell, D., & Thompson, K. (2012). Film art: An introduction. New York, NY: McGraw Hill.
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David, Bordwell (2002). "Intensified
Continuity: Visual Style in Contemporary American Film".
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of the second character. Moving the camera over the axis is called
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T. Jefferson Kline, "The French New Wave" in
Elizabeth Ezra (ed.)
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close-up shot, it may provide a break in the action of the scene.
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379:"180 degree rule - Project 5, Mind the Gap"
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652:VIDEO on 180 degree rule
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498:10.1525/fq.2002.55.3.16
463:Oxford University Press
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637:"The 180-degree rule"
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1959:Cinematic techniques
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407:www.solutioneers.net
359:. Cinematography.com
712:Attentional control
413:on 9 September 2016
172:Carl Theodor Dreyer
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1667:Air bladder effect
1286:Wide / Long / Full
1080:Non-linear editing
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338:. MediaCollege.com
282:Continuity editing
259:Empirical research
168:continuity editing
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439:. 28 October 2009
316:978-0-240-80562-7
227:Ă€ bout de souffle
220:. In the seminal
57:crossing the line
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1964:Film editing
1929:Split screen
1924:Smallgantics
1914:Match moving
1722:Pyrotechnics
1672:Animatronics
1512:Lens effects
1373:Camera angle
1361: /
1244:Non-diegetic
968:
948:Slow cutting
922:Flashforward
908:Contrast cut
896:Storytelling
868:Fast cutting
768:Split screen
722:Parallel cut
702:Choreography
688:Film editing
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441:. Retrieved
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415:. Retrieved
411:the original
406:
404:"Loading..."
398:
386:. Retrieved
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361:. Retrieved
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340:. Retrieved
306:
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231:
225:
215:
208:Jacques Tati
204:Wong Kar-wai
200:YasujirĹŤ Ozu
192:Jacques Demy
190:. Directors
185:
175:
174:did this in
165:
157:
118:
114:
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103:Reverse cuts
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39:
33:
1934:Stop motion
1909:Introvision
1889:Compositing
1879:Bullet time
1861:Stop motion
1849:Slow motion
1844:Fast motion
1789:Lens flares
1764:Bullet time
1737:Sugar glass
1727:Rubber mask
1661:wire-flying
1567:Master shot
1421:Dutch angle
1331:Perspective
847:Slow motion
813:Timelapsing
717:Master shot
196:Tinto Brass
187:The Shining
158:The Shining
121:buffer shot
49:frame right
1953:Categories
1884:Chroma key
1839:Time-lapse
1804:Filtration
1769:Dolly zoom
1697:Kitbashing
1503:Dolly zoom
1401:Crane shot
1396:Bird's-eye
1391:High-angle
1279:Field size
1254:Film score
1196:Lens flare
1166:Background
773:Transition
342:2013-10-24
293:References
232:Breathless
217:Antichrist
36:filmmaking
1904:Go motion
1829:Slit-scan
1751:In-camera
1650:Practical
1582:Long take
1488:SnorriCam
1483:Steadicam
1463:Hand-held
1411:Low-angle
1249:Narration
1211:Rembrandt
1007:Long take
943:Cross cut
938:Smash cut
918:Flashback
830:Axial cut
799:Long shot
794:Match cut
782:Insertion
731:Technique
492:(3): 20.
461:(Oxford:
443:18 August
417:18 August
388:18 August
363:24 August
1717:Puppetry
1587:One-shot
1473:Tracking
1456:Whip pan
1406:Jib shot
1311:Two shot
1301:Close-up
1291:American
1271:Shooting
1239:Diegetic
1186:High-key
1158:Lighting
883:Supercut
842:Dissolve
825:Jump cut
789:Dialogue
276:See also
249:feature
92:jump cut
74:Examples
1893:digital
1891: (
1759:Bipacks
1706:hanging
1704: (
1659: (
1546:Zooming
1534:Shallow
1524:Racking
1451:Panning
1446:Tilting
1349:Reverse
1306:Italian
1201:Low-key
1043:Editing
1022:Footage
878:Montage
743:Cutaway
695:Concept
465:, 2004)
252:Paprika
1871:Visual
1592:Insert
1572:B-roll
1498:Follow
1386:Aerial
1359:Single
1296:Medium
1027:B-roll
931:Action
852:Prelap
804:Insert
504:
313:
206:, and
38:, the
1519:Focus
1478:Dolly
1468:Shaky
1354:Trunk
1343:(POV)
1231:Sound
1216:Stage
1181:Flood
1171:Cameo
1082:(NLE)
861:Other
738:Clues
502:JSTOR
247:anime
224:film
127:Style
1539:Deep
1381:Tilt
1221:Soft
1206:Mood
1176:Fill
983:Term
962:Rule
837:Wipe
639:and
445:2017
419:2017
390:2017
365:2012
311:ISBN
45:axis
1191:Key
820:Cut
494:doi
236:cut
214:in
156:In
81:cut
55:or
34:In
1955::
920:/
580:^
523:^
500:.
490:55
488:.
435:.
381:.
325:^
202:,
198:,
194:,
180:;
90:A
70:.
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1634:e
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1128:v
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666:v
508:.
496::
447:.
421:.
392:.
367:.
345:.
319:.
230:(
23:.
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