- Murderer P.O.V.
- Impending Doom P.O.V.
- Huddle Shot
- Mouth Cam
- Eye Cam
- Impairment Shot
- The character is being channeled by a psychic or medium, and the viewer looks only at what he saw.
- The character's identity is to be concealed from the audience, as in the Murderer P.O.V. shot.
- The character is a horrible monster, and its appearance is to be concealed from the audience. This can be accompanied by the Shaky Cam (as it was for Buffy's First Evil).
- The character's vision or perspective is unique in some way, such as a special form of vision (thermograph, low-light, colorblindness, sonar, etc.); special effects are used to reveal this; see also Robo Cam, Binocular Shot.
- Some versions of The Rashomon and Intro-Only Point of View do this.
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- Jim Varney's Ernest P. Worrell commercials in the '80s always had him addressing the camera as his unseen "buddy" Vern.
Anime and Manga
- Mobile Suit Gundam SEED uses it for comedy in an early Will They or Won't They? scene between Murrue and Mwu, when Murrue, trying to have a serious conversation, asks Mwu for his thoughts; from Mwu's perspective◊ we see his gaze stray down from Murrue's face to her chest.
- Texhnolyze occasionally shows things from Ichise's perspective, down to the HUD he sees because of his recently upgraded eyes.
- An interesting use of this trope was in Osamu Tezuka's Jumping, a 6-minute cartoon consisting of a one long POV shot through the eyes of an incredibly-high-jumping creature (whose face and identity are not shown to the viewers). See for yourself...
- Neon Genesis Evangelion features POV shots occasionally, usually from Shinji's perspective. A scene in End of Evangelion gives us his POV of Asuka with a horrific rage-face◊ leaning over Shinji while having some sort of mental hate-sex with him.
- Inside Mari
- When a scene features the life of Fumiko, we see nearly everything from Fumiko's point of view. In fact, the times we see Fumiko's face in these scenes are typically when she's looking at a reflective surface such as a mirror, window, or her mother's eye.
- Later we see a flashback from Mari's point of view of how she saw her life just before Isao became involved in it. In the course of this, we see Mari's classmates as filthy creatures with either the top half or the bottom half of their faces obscured, her father turned away and transparent, her mother looking positively grotesque, Mari's reflection looking like childish scribbling, and Isao surrounded by Bishie Sparkles even as Mari's watching him masturbate. The only one who looks normal at all is her younger brother.
- Russian Ark features a single 96 minute take from the perspective of an unnamed narrator walking through Winter Palace in Saint Petersburg, witnessing operas and a grand ball across different time periods.
- Jaws. Namely, the POV of Bruce the shark.
- Lampshaded as the central feature of The Blair Witch Project.
- Used for a few minutes in Doom as a homage to the original video game.
- A slight variation of this—the "perspective" of a dead or incapacitated character—is one of director Quentin Tarantino's trademarks and such a scene is present in most of his movies, perhaps most notably Jackie Brown and Pulp Fiction.
- In Bruges ends with the camera from Ray's POV as he is wheeled into an ambulance on a gurney. He may or may not be dying, the ending is ambiguous.
- In Lonesome, Jim tries to impress Mary by doing a headstand—and the camera shot shows her upside-down.
- An early example is the 1947 film noir Lady in the Lake, directed by and starring Robert Montgomery, which was filmed almost entirely in POV Cam to imitate the original novel's first-person narration (this is hence a rare non-video game example of Unbroken First-Person Perspective). Just so the film's Big Name Star was not totally unseen, he appears in bridging sequences and is seen whenever Marlowe looks into a mirror.
- The first half of another 1947 noir, Dark Passage, is shown from the viewpoint of the main character; after he has plastic surgery so he looks like Humphrey Bogart, we see him onscreen.
- In Tower of God, Anak's flashback of the last time she saw her mother is shot entirely in point of view.
- Appears very frequently in The Silence of the Lambs.
- Much of Cannibal Holocaust used this technique.
- The echolocation of the alien creatures from Pitch Black is represented by POV shots of "images" made up of tiny pixel-dots that convey textures and surfaces.
- The original The Fly (1958) may be the Trope Codifier for how this trope can depict a monster's unusual sensory mode, thanks to its famous shot of the leading lady screaming as seen through multifaceted insect eyes.
- Used in Kick-Ass when Hit-Girl has to clear out a darkened room full of thugs with night vision goggles. It was used to add a bit of humor as it was done First-Person-Shooter style, and also an excuse to not overuse several epileptic white flashes.
- The '50s corporate-intrigue drama Executive Suite opens with a scene from the perspective of the company CEO whose subsequent death by heart attack sets the film's plot in motion.
- The science fiction film It Came from Outer Space uses the alien's POV for its first few encounters with humans (including a semi-transparent "eye" over the whole screen) to keep from revealing the alien's appearance too early.
- Dr. Jekyll and Mr. Hyde (1931) uses this twice, once in the beginning (from Jekyll's viewpoint as he dresses and travels to a lecture) and then again after the first transformation to Hyde (as he spins around in confusion and finally catches himself in the mirror). The mirror shots were done by having actor Fredric March pose on the opposite side of a fake mirror which was actually just a hole in the wall.
- The film version of The Diving Bell And The Butterfly is partially shown in this manner, using a tilt-shift focus (which picks out sharp objects in an otherwise blurry image) to depict the viewpoint of its protagonist, who suffers a stroke that among other debilitations leaves him with the use of only one eye.
- All the SQUID scenes in Strange Days are filmed in this way.
- Enter the Void uses this a lot, particularly in the intro when the main character is still alive. Even the eye blinks are represented by screenflicker.
- The remake of Maniac constantly.
- Done several times from Ryan Stone's viewpoint in Gravity.
- X-Men: Apocalypse:
- We get a glimpse of what the world looks like through the ruby quartz lenses of Scott Summers' sunglasses when he puts them on for the first time.
- After Apocalypse notices Xavier's presence through the latter's telepathic link with Erik, Apocalypse stares straight at the camera (so we're seeing him through the Professor's perspective) with his glowing white eyes as he ominously states, "Thank you for letting me in."
- The Grey Zone: At the end, the camera briefly switches to the point of view of the Jewish girl after the Auschwitz-Birkenau uprising has been quelled by the Nazis. The little girl sees quiet, tall men in uniform all around her. The camera continues to follow her as she runs through the gates to freedom until she's shot to death.
- Used in The French Connection II when Popeye is chasing, and later searching the bus for Charnier.
- In the Tales from the Darkside: The Movie segment "Cat From Hell", there are a few shots from the cat's perspective, including when the cat jumps into a hitman's mouth, and we first see the camera lunging into it.
- Hardcore Henry is an entire movie shot from the perspective of the main character.
- In the Time Machine gamebook series, all illustrations are from the protagonist's point of view.
- It is common in gamebooks, in fact, along with Second-Person Narration, to have the illustration being from the protagonist's viewpoint, since after all, you are the hero. Notably in Lone Wolf, where many pictures are of the enemies to fight, and thus show some monster seemingly about to jump at the reader.
- A rare literary example is H.P. Lovecraft's short story "The Outsider", which follows reason #5 to a T, and disguises the narrator's identity from the audience right up to the last sentence.
- Likely Suspects, a playful detective show that had a short run on Fox starting in 1992, is based on this trope. The viewer plays the role of a rookie partner to the main character. The perspective frequently shifts from POV to standard cinematography for flashbacks or other scenes where the viewer character isn't present.
- House does this for a good half of the episode "Locked In". It starts from the patient's viewpoint, who suffer from locked-in syndrome, and thus can only watch helplessly as the doctors try to diagnose him, only able to communicate through blinking.
- Peep Show sticks to this almost exclusively, hopping between characters' perspectives (including those of random passers by). This becomes very weird in kisses and sex scenes.
- The M*A*S*H episode "Point of View" used this to great effect, with the camera taking the place of a patient in the hospital, allowing the viewer to experience the characters from a different perspective.
- In the Small Wonder series finale "The Rip-Off", this was done when Vicki, connected to the hotel TV, showed how the robbery really happened.
- Saturday Night Live had a couple of sketches that were shown from a first-person point of view:
- Probably the most popular sketch that uses the P.O.V. Cam is Christopher Walken's recurring sketch, "The Continental." Justified in that the original version of "The Continental" from the early 1950s was done through P.O.V. Cam too.
- A sketch from a Jean Doumanian era (1980-1981 season) episode hosted by Karen Black showed a stroke victim laid up in a hospital bed. The viewer sees how his nurse (Yvonne Hudson) treats him like a baby and how no one — not even his daughter (Karen Black) and her boyfriend (Charles Rocket) seems to care that he had a stroke (except for his friend, Rachel, who loved him).
- A short film (also from the Jean Doumanian era — this time on the episode hosted by Sally Kellerman) centered on a man who turns out to be one of the freed Iranian hostages from the early 1980s and everywhere he goes, people bombard him with questions and exploit him. For maximum Nightmare Fuel, it ends with a man dressed as Uncle Sam eerily announcing, "Welcome home, son!" and strangling the unseen man with a yellow ribbon as "Tie a Yellow Ribbon 'Round the Old Oak Tree" plays.
- From season 20 (another seasonally rotten season), there was a one-off sketch on the episode hosted by Bob Newhart in which a post office supervisor (Newhart) tries to fire a worker (who appears in POV Cam).
- A recurring sketch on The Jackie Gleason Show featured Gleason as Joe the Bartender, who would address the camera as unseen customer "Mr. Dennahy".
- The Sanctuary episode "Metamorphosis" takes place mostly from the first-person POV of Will, and only switches to a normal third-person POV for a few scenes.
- The Plainclothesman, an detective show which ran from 1949-54 on DuMont, was shown entirely from the POV of its main character, with the exception of a flashback episode which showed his face.
- Gulf Playhouse, an anthology series which ran from 1952-53 on NBC, initially did standard dramatic stories before being retooled as First Person Playhouse, where every story was shown from the POV of the main character (which was probably inspired by the above-mentioned The Plainclothesman).
- The Tales from the Crypt episode "You, Murderer" is done from this perspective, with the main character speaking in an impersonated Humphrey Bogart voice and old footage of Bogart himself digitally inserted into scenes where his reflection is shown in mirrors.
- Another Crypt episode, "Abra Cadaver", is partially shown from the POV of one of the characters after he dies.
- The Star Trek: Voyager episode "Dark Frontier" starts off with a Borg-eye view of an assimilation job. Also serves as a Villain Prologue.
- The Star Trek:Deep Space Nine episode "The Magnificent Ferengi" has one of these, combined with a Huddle Shot from Keevan's eyes, though after he is killed.
- Bones did this with the episode "The Ghost in the Machine", which is told entirely from the murder victim's skull's point of view.
- Late Night with David Letterman
- On the third episode Dave came out to do his opening monologue with a cameraman holding a camera over Dave's right shoulder, showing his view of the audience. The camera stayed on Dave's shoulder until the first commercial break.
- Other gimmicks used over the years include "Monkey Cam" where a camera is strapped to the head of a chimp who is let loose in the audience, showing its perspective.
- The 2014 Cosmos shows the evolution of the eye, with the real view presenting next to what each iteration of the increasingly-complex creature eyes see.
- Played for comedy in the 30 Rock episode "Apollo, Apollo". Apparently Kenneth sees everyone as Muppets; Tracy sees everyone as copies of himself; and Jack sees everything captioned with its price (and believes Kenneth to be worth $7).
- One episode of The New Hollywood Squares had Jim J. Bullock using a helmet-cam in his square.
- Infamous example: the video for The Prodigy's "Smack My Bitch Up" is a first-person view of a night's debauchery and sexual harassment being done by a woman, thanks to a mirror-reveal.
- Cinnamon Chasers' "Luv Deluxe", a young man's wild romantic road trip that also has Multiple Endings, available here.
- Technically, every single first-person shooter, by definition. Many also do cut scenes in first person, such as Half-Life and Call of Duty, often making the hero The Faceless.
- Interesting variant in the original Unreal Tournament. Typically upon death, the camera goes into third-person to allow the player to watch their character's death animation. If the death was via sniper bullet to the head or resulted in Ludicrous Gibs, however, the camera instead continued viewing from the head's point of view as it bounced away from the rest of the body.
- The Legend of Zelda: The Wind Waker has one cutscene where Link is shown waving to his sister from her point of view as she is carried to her rescue by Tetra and her pirate crew.
- Most of the 3D Grand Theft Auto titles has a dynamic camera option while driving, giving the player several dynamic angles to view themselves through as they drive like a high speed chase scene. If this camera option is in use while the player is being chased by the cops, sometimes the camera switches to the cop's point of view as they chase the player.
- The opening cutscene of Overlord I shows the minions cracking open your entombment from your perspective, presumably to keep you as The Faceless.
- Fire Emblem Awakening opens with a cutscene that crosses this and Eye Cam, where you witness one of the game's battles from a first-person perspective. You can even see the Player Character's hood blocking portions of the screen, as it would the character's view.
- The "Spudgy Cam" gives a great view of the world from a Pekingnese perspective on Eat Your Kimchi.
- Pinky and the Brain episode 55 segment 1 "The Pinky P.O.V." was shown entirely from Pinky's perspective, featuring a visible nose, hands and full body reflections. Can be seen here.
- The Arthur episode "You Are Arthur" features this technique through the entire episode, where viewers get to watch Arthur run a 3k race through his point of view.
- A few shots from the Oggy and the Cockroaches episode "Now You See Me, Now You Don't!" are set from Oggy's POV.
- The third segment of Family Guy Viewer Mail #2, "Point Of Stew", lets see the world through Stewie's eyes.
- The beginning of The Venture Bros. episode, "¡Viva los Muertos!" shows the POV of one of The Monarch's henchman as he dies and is revived as Venturestein.