Film School Rejects shared a short film called Gumshoe, which is four minutes shot from a first person point of view. As FSR note:
First person POV can be tricky to pull off because of how limiting the field of view is. It’s the same thing with found footage, but even without the shaky cam (or at least a less shaky cam), it can be disorienting and leave an audience frustrated by the loss of control. When it’s done well, it can be very cool. Still a gimmick, but an entrancing one.
In the noir film, the first person point of view serves several purposes and one of those purposes is to add a comic (as well as comical) tone. The ‘kapow’ type voiceovers add to this humorous tone. A woman’s legs viewed from the top-down quash any real attempt at the familiar ‘sexy pose’.
FIRST PERSON POV IN PICTUREBOOKS
What roles might this POV play in picturebooks?
I have made use of it — though not across an entire work — in Midnight Feast, in which the reader views the hallway from the young protagonist’s point of view. The point of view soon shifts to one of ‘reader’ because a touch on the screen sees the protagonist in front of the reader, pressed against the wall, trying not to be seen.
A shifting point of view adds variety to a picturebook, which is especially necessary in a story like Midnight Feast, in which the action takes place entirely inside one small apartment and stairwell. But even in cases where there are plenty of beautiful settings, an illustration from first person point of view can aid reader identification with the protagonist, and so I’m making use of it again in Hilda Bewildered. Below is a screenshot for page 22:
In this case I included the hand of the main character. The green ring is significant to the plot, and I also needed the speech bubble to be coming from somewhere (even if it is just a hand). Technically, at that angle, a passenger in the back seat of a car would not see the taxi driver’s eyes but rather his head (I only know this because I worked from a reference photo) but I have illustrated the driver’s rather menacing eyes and I’ve made sure they are looking straight at the reader. In conjunction with the first person point of view, I hope that when the reader first turns onto the page, that those eyes will heighten the suspense. Where is Hilda going? Who with? What’s going to happen when they get there? All of this works better if readers can put themselves into the position of the main character.