In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective–and to any number of subjective points of view–and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
