How filmmakers use subjective camera techniques to immerse viewers and evoke presence

[The essay below from Silver Screen Hub on Facebook describes the different ways filmmakers used subjective camera techniques in three films, and why the techniques have the potential to evoke presence by making the viewer “not just a spectator, but an integral part of the story.” For more on the use of the techniques in the films, see Jim Carroll’s blog (The Lady in the Lake), a chapter in the book Subjectivity by Vivian Sobchack (Dark Passages), and PopMatters and Film Independent (Hardcore Henry). Note that the essay itself may represent an example of presence (in which the consumer overlooks the role of technology in the experience), because no author is identified and the writing style suggests it may have been generated by artificial intelligence. –Matthew]

[Images: Top: Scene from The Lady in the Lake (1947) in which Robert Montgomery’s character sees himself and another character in a bathroom mirror. Bottom: A scene from Dark Passage (1947) with the face of Humphrey Bogart ’s character hidden in shadow.]

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By [author unknown]
December 15, 2024

Imagine sitting in a darkened theater, watching the world unfold not as an observer, but as the protagonist themselves. Every move you make, every corner you turn, every decision—right or wrong—is yours to experience firsthand. It’s a jarring, immersive approach that few filmmakers have dared to explore fully, and yet, it carries the promise of something truly unique: to make you not just a spectator, but an integral part of the story.

The subjective camera technique, also known as first-person point-of-view (POV) filmmaking, has been a rarity in cinema history. It’s not just about pointing the lens where the character looks—it’s about fully inhabiting their world. The result is an experience that can feel unnervingly intimate or frustratingly claustrophobic, depending on how it’s handled. One of the earliest attempts to use this technique was in Robert Montgomery’s The Lady in the Lake (1947), an adaptation of Raymond Chandler’s hardboiled detective novel.

Montgomery, who both directed and starred as Philip Marlowe, made the bold choice to shoot almost the entire film from Marlowe’s perspective. The only glimpses the audience gets of the famed private eye are when he catches his reflection in mirrors, glass, or water. While it was an ambitious experiment, it polarized audiences and critics alike. The noir atmosphere was intact, but the technique unintentionally hampered the story’s rhythm. Every interaction was filtered through Marlowe’s deliberate, slow movements, and the novelty of the subjective viewpoint wore thin as viewers found themselves yearning for a more traditional cinematic flow.

The same year, another noir film, Dark Passage (1947), adapted from David Goodis’s novel, toyed with a similar idea but in a more restrained fashion. For the first thirty minutes, Humphrey Bogart’s character, Vincent Parry, remains unseen—his face obscured by shadows, his movements captured through a subjective lens. This choice was motivated by the plot: Parry is a fugitive undergoing plastic surgery to alter his appearance. The subjective camera mirrors his disorientation and paranoia, placing the audience directly in his shoes as he navigates a world where every glance could betray him. Unlike The Lady in the Lake, Dark Passage eventually abandons the technique, revealing Bogart’s iconic visage and allowing the narrative to regain its momentum.

This approach, while rare, hasn’t been entirely forgotten in modern cinema. Russian filmmaker Ilya Naishuller’s Hardcore Henry (2015) is one of the few contemporary films to embrace the subjective camera for its entire runtime. This action-packed spectacle thrusts the audience into the chaotic, adrenaline-fueled life of Henry, a cyborg fighting to save his wife. Unlike the slower, more deliberate pacing of the noir films, Hardcore Henry uses the first-person perspective to create a visceral, video game-like experience, complete with dizzying chases, relentless combat, and a frenetic pace. While it received mixed reviews, the film carved out a niche for itself as a bold experiment in action storytelling.

Subjective filmmaking remains a divisive technique. On one hand, it offers an unparalleled level of immersion, allowing the audience to step into the shoes of a character in a way no other method can. On the other, it risks alienating viewers who may find the experience too restrictive or limiting. What’s clear, however, is that when used judiciously, it can elevate certain stories, creating an unforgettable connection between the audience and the protagonist. Whether it’s the brooding streets of noir-era Los Angeles or the chaotic battlegrounds of a sci-fi dystopia, these films remind us that sometimes, seeing the world through someone else’s eyes can be the most cinematic experience of all.


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