The 180-Degree Rule

As the world of film expanded and developed, Continuity Editing was created to ensure form and structure.  The cardinal rule of Continuity Editing is the 180° Rule.  The 180° Rule is used in the production of film to help the audience understand a scene spatially.

In a scene in which two objects are interacting, an imaginary line goes between them called the axis.  Cameras can be placed along this line or can rotate around the objects, but not cross the axis – thus only covering a maximum of 180°.  There can then be shots of the two objects without confusing the audience.

 

http://katienicholls6143asfilmcoursework.blogspot.co.uk/2011/11/research-180-degree-rule.html Friday, 11 November 2011.

 

Dramatically, this can resemble empathising with the objects or the characters, seeing from their point of view or understanding conflict in some way.  Therefore we are encouraged to relate to and identify with the characters or objects in the shot, especially if the camera is oriented closer to the axis as we are able to see more from the point of view of said object/character. 

 

 

- http://youtu.be/lFHLE24hDQY

 

Above is a snapshot from a scene in the Michael Gondry film Eternal Sunshine of the Spotless Mind (U.S.A, 2004).  It is an interesting scene because it breaks the 180° Rule rather a lot.  What is actually happening in the scene is that one of Joel's (Jim Carrey) memories is being erased while he relives it.  As the scene progresses during his discussion with Clementine (Kate Winslet), more and more of the covers of the books are becoming blank.

            Not only that, but there are lots of shots which disorient the audience through breaking the 180° Rule.  This is intended to make the scene seem dreamlike and confusing; as if the memory was collapsing in vain of Joel’s attempts to save it – which it is.

During some parts of the scene, we feel as if we’re peeking at the conversation occurring without permission.  Some of the camera angles show the two actors behind bookshelves, and the camera is peering over at them, which we can see in the snapshot above, as if we were spying.  This adds to the confusion of reality mixing with unreality, the connection Joel and Clementine have disintegrating and the grasp Joel has upon his memories.

- http://youtu.be/Kc80eNzxpJo

In terms of actually using the 180° Rule, here is a scene from Cameron Crowe’s film We Bought A Zoo (U.S.A, 2011) .  It focuses on the discussion between Matt Damon’s character, Benjamin Mee and Scarlett Johansson’s character, Kelly Foster.

The establishing shot has the two of them walking towards the camera discussing the enclosures at the Zoo.  There is then a shot of Kelly from beside Benjamin in which she tells him that the places in which the animals are kept are not cages.  Each shot of her thus far is from Benjamin’s side, which may be to show us that all we have seen of Kelly so far is from Benjamin’s point of view.

When the two stop, the 180° Rule comes into play properly.  As can be seen above, over-the-shoulder shots of both characters are seen in the shot/reverse/shot format.  Now, while Kelly is framed independently, we start to learn about her personality and character.

To begin with, the two are playfully discussing the zoo, but after a few seconds there is conflict between them and they stop walking.  Kelly confronts Benjamin about why he bought the zoo.  One thing I noticed during this scene was how the shots of Benjamin were always from below and the ones of Kelly were from above.  I think this is a reference to how Benjamin already knows the answer to Kelly's question before she even asks it. "Why not?"