In filmmaking, every aspect of visual composition is crafted with intent, often revealing layers of meaning beneath the surface story. One powerful tool in a filmmaker's arsenal is the manipulation of height—achieved through camera angles or the arrangement of characters within the frame. This technique is key to storytelling, especially when it comes to expressing power dynamics. By subtly altering our perspective, filmmakers can shape how we perceive characters, suggesting complex psychological and emotional undercurrents. In this article, we delve into the nuanced use of height to convey power, emotional depth, and other themes, exploring examples from recent independent films and the broader cinematic landscape. For those interested in mastering these techniques, consider enrolling in our course, The Art of Directing, where we delve deeper into the craft of visual storytelling.

The Psychological Impact of Camera Height

Low Angle: Dominance and Superiority

“Nothing good happens when two men are trapped in a giant phallus”, Robert Eggers

Low-angle shots - where the camera is positioned below the subject, looking up - are a classic way to infer power and dominance. This angle magnifies the characters, making them appear more imposing and authoritative. For example, in The Lighthouse (2019), director Robert Eggers uses low angles to enhance the psychological struggle between the two main characters. Objects can also be involved in power relationships. The towering lighthouse becomes a symbol of the power contest between the two men, often shot from a low angle to exaggerate its looming presence and the psychological hold it has over them. One clear example of this use of camera height to signify power occurs in the scene where Wake (Dafoe) delivers his blistering monologue on the perils that await those who question the patriarchy of the sea.

Eye-Level: Equilibrium and Empathy

Eye-level shots create a sense of neutrality and balance, placing the viewer on the same plane as the characters. This technique fosters empathy and a direct connection with the audience. Sean Baker’s The Florida Project (2017) employs eye-level shots extensively, particularly when portraying the world from the children’s perspective. This consistent use of eye-level framing invites the audience to see the world through the innocent eyes of the young protagonists, creating an intimate and unfiltered view of their experiences. Beyond helping us identify with the young protagonists it returns us to our childhoods, creating a sense of both joy and nostalgic melancholy.

High Angle: Vulnerability and Subordination

High-angle shots - where the camera looks down on a character - often imply weakness or subordination. It can also, however, express vulnerability. In First Reformed (2017), Paul Schrader utilizes high angles to depict Reverend Toller’s isolation and existential despair. As Toller’s spiritual ordeal deepens, the camera angles often shift to look down on him, emphasizing his growing sense of vulnerability and helplessness. In line with Schrader’s spiritual interests, this raises the question (for Reverend Toller and, by extension, the audience) as to how a benevolent God can look down on us without intervening in our tragedy.

The Subtext of Vertical Positioning in the Frame

In addition to the placement of the camera in relation to a subject, we can also use the placement of a subject or object within the Y-space of the frame for psychological effect. It’s best to think of the frame as a 2D image plane similar to a painting. Elements near the top of the frame can express qualities of empowerment, dominance, and authority. Those near the bottom express qualities of disempowerment, subordination, and submissiveness. As a director, you are not limited to these, other contrasting pairs - parental/childlike, worldly/naive, elated/depressed - can also be used. The important thing is that you, as the director, are consciously using concepts such as this to actively illustrate emotional and thematic subtext through consistent cinematic language. Depending on the size of your shot this can relate to full body position of characters or the placement of their head.

Top of the Frame: Authority and Dominance

Positioning a character towards the top of the frame can subtly suggest their dominance or higher status. In Full Metal Jacket (1987), directed by Stanley Kubrick, Drill Instructor Hartman is often positioned high in the frame. As well as reinforcing his oppressive authority it also creates a stronger moment of contrast when he is eventually brought down from power and laid literally at the bottom of the frame.

Top of the Frame: A Desire to Break the Frame

In A Ghost Story (2017), David Lowery frequently places the ghost character at the top of the frame, underscoring both the character’s place above the mundane world and his need to transcend (if we imagine the top of the frame as a barrier). As mentioned in another article, the physical boundaries of the frame are often forgotten when it comes to storytelling but the frame can be a great tool for directors.

Centre of the Frame: Centrality and Focus

A centrally framed character often indicates their importance within a scene. Spectators also find it easier to feel a sense of connection with centrally placed characters - they are literally ‘on our level’. Whilst filmmakers often think of central framing in relation to horizontal position, the use of vertical position (Y-space) can be overlooked. This is most likely due to an overreliance on photographic ‘rules’ such as not allowing too much headspace but it needs to be remembered that a cinematic image is designed to convey meaning beyond being simply pleasing to look at. Centrality also creates a sense of balance that can reflect a character’s state of mind at a particular point in the narrative.

*River of Grass (Kelly Reichardt, 1994)*

Bottom of the Frame: Marginalization and Defeat

Characters placed at the bottom of the frame can appear marginalized or defeated as discussed above. In this shot from Reservoir Dogs (Tarantino, 1992) the position of the characters within the frame demonstrates a clear power dynamic. Note that the camera is neutral in terms of its height. It is the position of the characters in front of the camera in relationship to each other and the frame that communicates their status.

Greta Gerwig’s Lady Bird (2017) often frames the titular character in the lower half of the frame during moments when she feels powerless. This diminishes in the third act of the film when she gains a sense of agency and maturity in the real world, subtly reinforcing her empowerment.

Perspective and Subjectivity

Different camera heights can offer subjective perspectives that align with specific characters’ viewpoints. In The Babadook (2014), Jennifer Kent uses varying camera heights to portray the perspectives of the mother and her young son. The film alternates between the child's low-angle view of the world—emphasizing fear and confusion—and the mother's high-angle shots that convey her overwhelming sense of responsibility and isolation. At times - such as the Babadook’s appearance on the ceiling above the mother’s bed - this established rule can suddenly be switched to striking effect.

Foreboding and Foreshadowing

Height can create a sense of foreboding or foreshadowing future events. In Parasite (2019), Bong Joon-ho frequently uses elevated camera angles to foreshadow the tension between the families in the film. Location and set design are used to reinforce the theme of hierarchy and power within the film throughout and this is strengthened by the placement of characters within the frame and camera position in relation to those characters. Parasite is a masterclass in the use of levels and height as a means of conveying power and hierarchy.

Below is a great scene from There Will Be Blood (Anderson, 2007) - a film based on power. As the Reverend Sunday (Dano) goes to confront Plainview (Day Lewis) the director, Paul Thomas Anderson, combines a mixture of these two techniques (camera height and character height within frame) to accentuate the power dynamics of the scene. This terrific scene also makes use of Left and Right direction - but that’s for a future article.

Conclusion

The use of height in filmmaking, whether through relative camera position or the vertical placement of characters within the frame, offers a rich palette of expressive possibilities. Beyond the obvious connotations of power and dominance, these techniques can evoke a wide range of emotions and psychological states, from isolation and growth to subjectivity and foreshadowing. Understanding and mastering these subtleties can significantly enhance a filmmaker's ability to tell compelling and nuanced stories.

For those looking to deepen their understanding of these techniques and explore more sophisticated aspects of directing, consider joining The Art of Directing. This course provides invaluable insights into the intricate art of visual storytelling, helping you craft experiences that resonate deeply with audiences long after the credits roll.

Bobby

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