KWAME NKRUMAH UNIVERSITY OF SCIRNCE AND TECHNOLOGY
DEPARTMENT OF COMMUNICATION DESIGN
NAME : FOSU LARBI SAMUEL
INDEX: 3928418
PROGRAMME: MULTIMEDIA
COURSE: INTRO. TO PRE-PRODUCTION
COURSE CODE: DAD 271
TOPIC:
RESEARCH ON THE 180- DEGREE RULE
IN FILMMAKING AND SUPPORT WITH ILLUSTRATION
180-DEGREE RULE
180-degree rule is a general basic guideline regarding
the on-screen relationship between a character and
another character or object within a scene. The 180degree rule of axis of action deals with the spatial
relationship between one character and another or an
object within a frame. It helps to define and maintain
a consistent screen direction with respect to who is on
the right hand side and who is on the left hand side.
An imaginary line called the axis, connects the characters and by keeping the camera on one
side of this axis for every shot in the scene, the first character is always frame right of the
second character, who is always frame left to the first, The camera passing over the axis is
called jumping the line or crossing the line, breaking the 180-degree rule by shooting on all
sides is known as shooting in the round. The imaginary line is drawn across both of them when
two characters are positioned opposite each other or not.
The general rule is not to cross the axis of action. A director is expected to choose a side of the
imaginary line and stick to it. The 180-degree rule enables the audience to visually connect
with the unseen movements happening around and behind the immediate subject and is
important in the narrative of battle scenes.
However, just as it is with most rules, there are also the exceptions to crossing the axis of
action. A director may choose to cross the line to create an effect based on his/her interpretation
of the scene. A director can also cross the axis of action with the permission of the audience,
the camera can also move gradually around the characters, keeping them both in the frame,
until their positions are changed. In the case, the audience is aware of the change in direction
and agrees with it.
For example, in a dialogue scene between two characters, a straight line can be imagined
running between the two characters, and extending to infinity. If the camera remains on one
side of this line, the spatial relationship between the two characters will be consistent from shot
to shot, even if one of the characters is not on screen. Shifting to the other side of the characters
on a cut will reverse the order of the characters from left to right and may disorient the audience.
The rule also applies to the movement of a character as the "line" created by the path of the
character. For example, if a character is walking in a leftward direction and is to be picked up
by another camera, the character must exit the first shot on frame left and enter the next shot
frame right.
Another example could be a car chase: If a vehicle leaves the right side of the frame in one
shot, it should enter from the left side of the frame in the next shot. Leaving from the right and
entering from the right creates a similar sense of disorientation.
There are a variety of ways to avoid confusion related to crossing the line due to particular
situations caused by actions or situations in a scene that would necessitate breaking the 180degree line. The movement in the scene can be altered, or cameras set up on one side of the
scene so that all the shots reflect the view from that side of the 180-degree line.
Another way to allow for crossing the line is to have several shots with the camera arching
from one side of the line to the other during the scene. That shot can be used to orient the
audience to the fact that they are looking at the scene from another angle. In the case of
movement, if a character is seen walking into frame from behind on the left side walking
towards a building corner on the right, as they walk around the corner of the building, the
camera can catch them coming towards the camera on the other side of the building entering
the frame from the left side and then walk straight at the camera and then exit the left side of
the frame.
REFERENCES
1. Oyero, O., Amodu, L., Usaini, S. (2015). Film history and production techniques. Oyo,
Nigeria: Sterling-Horden Publishers limited.
2. Proferes, T. (2005). Film directing fundamentals. Second edition. Amsterdam: Focal Press
limited.
3. Kline, T. (2004). European cinema: the fresh wave. England: Oxford university press.
4. David, B. (2002). Intensified continuity: visual style in contemporary American film.
United States of America: Film Quarterly Journal.