In film, certain rules are in place to maintain a sense of balance. To give a movie its flow and a sense of orientation. One of those guidelines that filmmakers often rely on when making a movie is the 180-degree rule.
Well, imagine a dialogue scene featuring two characters sharing a conversation over a table. The two are seated exactly opposite each other. Next, imagine a straight-line passing through the characters, dividing the space, think of it like a circle, into two halves.
Now each semi-circle spans an area of 180 degrees. The 180-degree rule requires that filmmakers set up their camera only on one side of this circle without crossing that halfway line. So you shoot a dialogue scene only within the region of this half-circle.
You may wonder how the 180-degree rule may apply to a scene featuring multiple characters or subjects. How is that imaginary axis implemented to attain balance and orientation? It’s simple. Imagine a stage play, how the actors are usually the center of attention on stage, and the audience are on the opposite side.
Now to observe the rule, the cameras need to be within the seating area. The edge of the stage makes up the image axis, with the characters to one side and the audience to the other. The camera setup doesn’t cross over into the stage.
The 180-degree rule has its benefits, breaking it too has it too has its purposes. Crossing the line, sometimes called jumping the line, entails the camera moving back and forth across both sides of the imaginary line.
That process may also be referred to as shooting in the round. We’ll take a look at instances where movies jumped the line and why.
Before that, here’s an example of a movie that followed the rule and why:
The 180-degree rule serves to establish camera direction in a movie. When you have two characters in the frame, talking to each other, filmmakers want to pull off that seamless appearance of continuous conversation.
This rule helps do that. It places one character to the right of the frame and reverses this order when the camera shifts to the other side of the imaginary axis. Consequently, we get a feeling of characters looking and talking to each order.
Often the speaking character’s face is visible in the frame and vice versa when he is listening, because we as the audience, basically take his place when listening. The natural order is maintained and so is orientation.
For an example of this in film, we’ll look to Robert De Niro’s 1995 action movie Heat.
Specifically, the famous dialogue scene between professional thief Neil McCauley and Lieutenant Vincent Hanna. “I do what I do best, take scores. You do what you do best, try to stop guys like me,” Neil says to Vincent. Neil is on the left of the camera, looking right and Vincent looks left from right.
The 180-degree rule maintains a consistency such that the viewers feel as though the characters are directly looking at each other and talking to each other.
Otherwise, the frame would break away from the interaction. It would feel as though the characters are talking to other people entirely. The 180-degree rule maintains continuity and the flow of interaction.
The rule not only benefits conversing characters but is important in other instances as well. Imagine two characters in a moving vehicle.
To maintain the scene’s direction of movement, the 180-degree rule needs to be followed, taking into account each character’s perspective as well.
Otherwise, you’ll have a scene where a car feels like it’s going in one direction one second, and the opposite direction in the next frame. Consequently, this guideline maintains the orientation as well for scenes involving moving subjects.
We’ve seen how the rule helps out scenes.
Could any good come from breaking it?
Observing the line creates order, tranquility, and normalcy. Jumping it naturally has the opposite effect. Shooting in the round creates trouble. It sets the stage for a chaotic interaction between characters.
The scene may begin on one side of the line, but as things escalate from good to bad, the camera gradually shifts to the other side. It creates a sense of discomfort and orientation that establishes the tone for the scene. Breaking the rule may be for purposes of enhancing the emotional punch of a scene, aside from compounding the conflict.
At times, auteurs, like Steven Spielberg, like to challenge normal convention. This could entail breaking “hallowed” rules like the 180 degree rule in filmmaking.
Saving Private Ryan contains a good example of when crossing the line is used to emotional perfection.
Here’s the trailer of the movie classic:
When Ryan is given the news about the death of his brothers in combat, the camera crosses to the other side of the conversational axis.
Before that, a wide shot first establishes the line for purposes of crossing it. Everything was alright up until this point. As Ryan asks which of his brothers were killed and he learns they’re all dead, the jump illustrates how his world has changed in an instant.
By breaking the rule, we get to feel Ryan’s development as a character.
It signifies the transition from a moment of normalcy to a rush of uncertainty and overwhelming sadness.
The camera poses significantly on the opposite side of the line. We get an extended shot of Ryan as he goes through the emotions. We see his face taken over by grief, his lack of words, and utter helplessness. The audience is reeled into this moment as the silence further elevates the feeling of loss.
After the climax of sadness dissipates and Ryan regains his composure, the camera switches back to the opposite side, reestablishing the 180-degree rule once more. The break serves to heighten the sense of despair in that moment. After the rush passes and Ryan processes his feelings with a renewed mentality to go on with the mission, the camera is back to the normal side.
It symbolizes his new resolve, having briefly dealt with the tragic news he has just received. The camera’s return sets the story back on its course after the emotional bump on the plot path.
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