You made me remember now. I tried to major in film (it was a program halfway between film studies and technical work), and remember a big technical thing being

You made me remember now. I tried to major in film (it was a program halfway between film studies and technical work), and remember a big technical thing being not producing an "axis break" (I won't know the terms in english) by changing angles too suddenly or even changing lenses too abruptly from wide to long. Unless you were trying to break the rules on purpose. The big exception was "plane/counter-plane" shot sequences where we alternated between seeing two characters who were talking face-to-face directly. This was 15 years ago and not in a country with an actual film industry. Then the reason why this worked was said to be insert long French theoretical evocation you identified with the characters. The lacanian gaze, that kind of thing. So in light of what you just said, the whole "axis break" makes perfect sense: film sequences are trying to show images I might have plausibly apprehended in real life via eye movements. Because I'm always seeing it from someone's point of view. The lacanian gaze.