Question about two-shots


Filmmaking manuals have repeatedly mentioned the importance of the two-shot (as opposed to the shot/reverse shot) as a method to align or connect two characters spatially and emotionally. However, I have not been able to find a reference from a cognitive film theory text on this. Tim Smith’s and Uri Hasson’s contributions on composition and eye trace within the frame (without the distraction of the cut) seem to go in this direction, but I am wondering whether there is something more concrete. In my practice-led research I want to apply the two-shot not only to characters, but character and objects within the same frame, in order to demonstrate the phenomenological-anthropological concept of objectification (Tilley, Miller).

Thank you.


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