Forostar
Ancient Mariner
Yes, no one takes it this far. 
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I do think Hitch and Lang developed some techniques out of nothing (just with their mind). At least they made up more themselves than people who take ideas from other film directors.
Example of one of the Hitchcock technique, used a lot in Rear Window:
edit:
I do think Hitch and Lang developed some techniques out of nothing (just with their mind). At least they made up more themselves than people who take ideas from other film directors.
Example of one of the Hitchcock technique, used a lot in Rear Window:
Point of View Editing
Jimmy Stewart looks at dog and then we see him smiling. Jimmy Stewart looks at a woman undressing and then we see him smiling. Those two smiles have completely different meanings, even if they are the exact same smile.
Putting an idea into the mind of the character without explaining it in dialogue is done by using a point-of-view shot sequence. This is subjective cinema. You take the eyes of the characters and add something for them to look at.
- Start with a close-up of the actor
- Cut to a shot of what they're seeing
- Cut back to the actor to see his reaction
- Repeat as desired
You can edit back and forth between the character and the subject as many times as you want to build tension. The audience won't get bored. This is the most powerful form of cinema, even more important than acting. To take it even further have the actor walk toward the subject. Switch to a tracking shot to show his changing perspective as he walks. The audience will believe they are sharing something personal with the character. This is what Hitchcock calls "pure cinema." (Truffaut)
Note: If another person looks at the character in point-of-view they must look directly at the camera.
Jimmy Stewart looks at dog and then we see him smiling. Jimmy Stewart looks at a woman undressing and then we see him smiling. Those two smiles have completely different meanings, even if they are the exact same smile.
- Start with a close-up of the actor
- Cut to a shot of what they're seeing
- Cut back to the actor to see his reaction
- Repeat as desired
You can edit back and forth between the character and the subject as many times as you want to build tension. The audience won't get bored. This is the most powerful form of cinema, even more important than acting. To take it even further have the actor walk toward the subject. Switch to a tracking shot to show his changing perspective as he walks. The audience will believe they are sharing something personal with the character. This is what Hitchcock calls "pure cinema." (Truffaut)
Note: If another person looks at the character in point-of-view they must look directly at the camera.
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