P.O.V.
Language: English
Part of speech: noun
Senses: examples: text: As she climbs up, a subjective tracking shot from her P.O.V. gradually reveals a sea of faces staring at her from the gallery.
ref: 1971, Take One:
text: From their P.O.V. we see the long, high hill with the single, giant oak tree.
ref: 1973, Eugene Benson, editor, Encounter: Canadian Drama in Four Media, Methuen, →ISBN, page 136:
text: ALISON holds the door open as first PETER then CHARLES pass, see them from her P.O.V. and then her eye going to the ash-tray containing PETER’s stubs, and his glass and the scotch, as over: […] BOY applauds, and on him clapping and looking first down, into the court, then up again, as if at MASTER, see, as if from his P.O.V. but CUTTING TO: […]
ref: 1974, The New Review, pages 30–31:
text: His office had confirmed his coming and CBS had dispatched a video crew from TVTV to report the Jamboree from his P.O.V. (point of view – I imagine Marlon’s view would be mostly eyes and clicking and whirring glass).
ref: 1978, CoEvolution Quarterly, page 97:
text: While they are doing so they look again in the general direction of SHAKE and GRANDFATHER and from their P.O.V., we see SHAKE is beating time to the music but from his wrist dangles an empty set of handcuffs.
ref: 1978, J. Philip Di Franco, editor, The Beatles in Richard Lester's A Hard Day's Night: A Complete Pictorial Record of the Movie, Penguin Books, →ISBN, page 271:
text: From their P.O.V. we pan […]
ref: 1978, Jack Rosenthal, Three Award-Winning Television Plays, Penguin, →ISBN, page 114:
text: ARCHY whirls around and we see, from his P.O.V. that the voice belongs to LES McCANN, the stockman.
ref: 1980, David Williamson, Gallipoli: Screenplay, Cinestore, page 23:
text: The dairy field. Mrs. Fairley’s P.O.V.
ref: 1981, Harold Pinter, The Screenplay of The French Lieutenant’s Woman, Cape, →ISBN, page 46:
text: Here’s Blossom in the pool—high-angle long-shot—and here’s the young cowhand who’s discovered her there and we’re looking at her from his P.O.V.
ref: 1983, George Kennedy, Murder on Location, Avon, →ISBN, page 95:
text: Students are given a number of options chalkboarded and are to rewrite from the P.O.V. of either: […]
ref: 1985, English in Australia, page xii:
text: From his P.O.V. sees CHARLUS in front of the playbill.
ref: 1985, Joanne Klein, Making Pictures: The Pinter Screenplays, Ohio State University Press, page 108:
text: From her P.O.V. we see the negative image of Jamshid.
ref: 1989, Īraj Jannatī ʻAṭāʼī, The Night Sun, Methuen Drama, →ISBN, page 174:
text: […] from her P.O.V. we move towards the door from behind which the sound of the lovers’ moans and the creaking bed come.
ref: 1993, Rukhsana Ahmad, Maya Chowdhry, Winsome Pinnock, Trish Cooke, Meera Syal, Zindika, edited by Kadija George, Six Plays by Black and Asian Women Writers, Aurora Metro Press, →ISBN, page 111:
text: On the way up, we get a shot from his P.O.V. through the shimmering clouds, accompanied by stock choral/heaven music.
ref: 1994, Film Score Monthly, page 2:
text: It’s all done from her P.O.V., dubbed ‘Anna-Vision’.
ref: 1995, Cinefantastique, page 20:
text: (The passing sidestreets from her P.O.V.)
ref: 1998, Irish University Review, page 326:
text: See things from their P.O.V. once in a while!
ref: 2001, The New Yorker, page 35:
text: From his P.O.V. we are able to make out Oliver bending over him.
ref: 2002, Igby Goes Down: The Shooting Script, HarperCollins, →ISBN, page 90:
text: From their P.O.V. / It's a ghost town out there, until the IRATE LIBRARIAN, ball in hand, marches outside to string up whoever smashed the window.
ref: 2002, The Emperor’s Club: The Shooting Script, Newmarket Press, →ISBN, page 62:
text: As they emerge we see the shopping centre from her P.O.V. and for a split second, in a frozen moment, she sees the mother waiting for the Very Small Girl as her own, smiling at her, waiting for her to come back from the grotto.
ref: 2002, Pretext, EAS Publishing, →ISBN, page 89:
text: In the photo, taken from his P.O.V., we could see, in addition to his penis, his feet, in black socks.
ref: 2003, The New Yorker, page 80:
text: Regardless of whether the object of the P.O.V. is inside or outside the master shot, you can only describe what the observing character can see from the P.O.V..
ref: 2006, Stephen E. Bowles, Ronald Mangravite, Peter A. Zorn, The Screenwriter’s Manual: A Complete Reference of Format and Style, Pearson A & B, →ISBN, page 91:
text: It would be so awesome if she had, if they could figure out a technical way where there was video from her P.O.V. / Amanda: Ah, so we’re getting her perspective.
ref: 2007, Marina Abramović, Nancy Spector, Erika Fischer-Lichte, 7 Easy Pieces, Charta, →ISBN, page 148:
text: It’s a change that takes millions of years, although from her P.O.V. it happens with devastating rapidity.
ref: 2009, George Mann, editor, The Solaris Book of New Science Fiction, Solaris, →ISBN, page 273:
text: Bachmann goes on to explain, from her P.O.V., that the 999 Plan is just going to open the door for a VAT tax.
ref: 2013, Rob Rimes, Scalping Jackals: A Whiskey-Fueled Critique of the 2012 Election, Lulu.com, →ISBN, page 65:
text: PARKING LOT, FROM THEIR P.O.V.
ref: 2015, Michael Roemer, Film Stories, Scarecrow Press, →ISBN, page 198:
glosses: Alternative form of POV (“point of view”).