Katz pp 121-130,139-143

I think its Katz's description of a close-up as being personal is interesting, I always thought of it as just intense. But it makes sense to me that it could intensely personal and intimate.
I had a vague knowledge of the 180° rule before but I don't think I had a strong sense of it at all. My assumption was that the camera should not move more than 180° around the subjects in sequencing shots that cut to each other. Or like if you wanted to shoot a conversation from the opposite side of the line of action to reveal something behind the characters in the environment, you would have to put a shot in between, maybe an over the shoulder shot, to make it cohesive and understandable that it is the camera moving and not the subjects. But now that I've written this thought down I'm almost sure that that would be a ridiculous rule to have, the line of action version that Katz explains makes much more sense to me now.

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