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The point-of-view shot is usually perceived as a ±natural device, yet its naturalness is illusory. This book provides an answer to the question: ±Where does the point-of-view shot come from? It investigates the emergence of this filmic form as the product of a culture and its history, unravelling the difference between a point-of-view shot and a character's subjective viewpoint. In so doing, it shows that what would become the point of-view shot developed from the interposition, between the eye and the world, of a prosthesis capable of modifying the conditions needed to access the visible, and thus to expand the potential of human vision. Moreover, the book offers inspiration for further research on modern (and postmodern) vision as a mediated vision, an important topic in contemporary debates in the digital media landscape.

Subjectivity in motion pictures. --- Motion pictures --- Cinematography. --- Digital media --- Subjectivité au cinéma --- Cinéma --- Médias numériques --- Philosophy. --- Aesthetics. --- History. --- Philosophie --- Esthétique --- Histoire --- Caméra subjective --- Cinematografie --- Cinématographie --- Home movies --- Photography--Animated pictures --- Photography--Motion pictures --- Plan subjectif (Cinéma) --- Point de vue (Cinéma) --- Point de vue au cinéma --- Point of view in motion pictures --- Subjective camera --- Subjectiviteit in de film --- Subjectivité au cinéma --- Subjectivité dans les films --- Subjectivity in motion pictures --- Philosophy --- Aesthetics --- History --- Cinematography --- Silent films --- History and criticism --- Point de vue (cinéma) --- Théorie du cinéma --- Films muets --- Motion pictures - Aesthetics