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THE FILMIC COMPONENTS 113
The tilt-up shot is also an excellent means of emphasizing height. Tall buildings, high cliffs, anything of imposing height, can be made to appear higher than they actually are simply by placing the camera near the base of the edifice and then tilting it up slowly. This is especially effective when the action taking place on top of the building or cliff is an important story point.
In the German film Berlin, the camera emphasized the height of the wall of a bomb-wrecked building up which the boy climbed and from the top of which he fell to his death. The same effect was achieved by Rossellini in his Germany— Year Zero, when he emphasized the height of the bomb-wrecked building from which his boy leaped to his death.
The tilt-up can also be used as the tail end of a transition. This device starts in a panning close-up of a person walking. The camera then tilts down to a shot of the feet treading along. The shot of these feet is then dissolved through, either to a close shot of the iarae person's feet, or to another person's feet, depending on which the story line calls for. Then, still panning, the camera starts to tilt up from the feet to a close-up of the person walking.
Remember, though, that motion-picture cameras are not confined :o straight horizontal or vertical movements. They are designed so is to be able to combine the pan, the tilt-up, and the tilt-down all in one operation. Thus it is possible for the camera operator to pan 1 subject diagonally, down a flight of stairs, while he tilts down with it to keep it centered, or reverse the process if the subject is yoing up a flight of stairs. In Hitchcock's Stage Fright, the camera opened with a close shot on a man (the camera being on a boom, ao doubt) , as the man exited from a door, went down stairs, and opened a door. In the meantime the camera, tilted down to his feet :n a close-up, traveled down to the door as it opened, and then .ilted up to catch a close shot of Marlene Dietrich.
In addition, the vertical axis of the camera can be set at an angle o the vertical axis of the subject being photographed. The result s that the image on the film will be shown as being tilted forward :>r backward, an effect experimented with in many of the German ind French avant-garde films. It should be used rarely and only vhen it actually contributes something definite. In the British Brief Encounter, the grieving heroine was photographed so that she