Today, directors are rarely enlargement, preferring to build a well in the space of a scene that, if necessary to see the details of the characters facial expressions the camera invisible to the viewer (or rather, as it were, along with the audience) into a general plan for the medium or even large. In those cases where we can do without the internal state of the underscore character, when it can be ascertained from the situation itself, the directors are limited to general plans, refusing enlargements. The same changes occur not only with the installation and close-ups, but with the angle. In recent films are less abrupt, unexpected angles. Much of this film is the way it is under no circumstances could not be seen by ordinary human eyes are not armed camera cranes, elevators, helicopters, etc. Thus, the modern cinema knowingly waives many funds impose its will on the spectator. This does not mean, of course, that he refuses to do any kind of interpretation has been brought on-screen events: It's all in the form of manifestation of the author's relationship to the movies. The extent and form is important here because in some cases, the filmmakers of foreign countries, justifying the desire for "complete truth" to a "higher objective view of the world", in fact, come to objectivism, lose an active attitude to life, refuse to participate in the formation of public morality. In the most recent developments of French and Italian cinema, the pictures of so-called "new wave", there are many works that marked with the seal of objectivism.

Thus, once again, the director seeks to define exactly what it needs to see and absorb the viewer. He at first glance, returns to the usurpation of the will of the spectator, his freedom of choice and the right to interpretation. But this is only superficial resemblance. In fact, there is a serious, no less profound difference. And most importantly, it is just on the line on which delineate the expressive means of cinema past with the poetics of film of the last period.

The subjective survey, simulating the events seen by the human eye is forced to adhere to constant terms (since, roughly speaking, a person can not simultaneously look at an object and the front and rear, left and right, and top and bottom). The only "freedom", which can be found in this type of shooting, - change the distance to the object {plan) without changing the angle and direction of shooting. In cases where the director wants to convey a vivid impression, which made what he saw in his character, the viewer sees after the general plan of a sudden large. This means that, excited by what they saw, the hero drew attention to some of its detail part. Incidentally, this kind of subjective surveys in recent years increasingly rare.