Satyajit Ray was a renowned Indian film director known for his unique approach to cinematography. The document discusses various camera angles and shots that Ray employed in his films, including low-level angles to depict power dynamics, eye-level shots for introductions, wide-angle shots to show hidden details, and close-ups to focus on emotions. It also analyzes specific shots like medium shots to bridge the physical and internal, two-shots to equalize character importance, and full-length shots to cover actions. In conclusion, Ray's artistic use of cinematography techniques enriched the viewing experience.

1. Camera Angles and
Shots in Satyajit Ray's
Movies
Presentade by Nirali Dabhi

2. Introduction
Name: Nirali Dabhi
Roll number: 13
Enrollment Number: 4069206420220006
Sem: 3 M.A
Paper number: 204
Paper Code: 22409
Paper Name: Contemporary Western Theories and Film Studies
Topic: Camera Angles and Shots in "Article 15"
Submitted to: Smt S.B. Gardi, Department of English, M.K.B.U
Email: niralidabhi95@gmail.com

3. Table of contents
What is Camera
Angles and Shots?
Introduction
of Director
Angles and
Shots
01 02 03
04
Conclusion

4. ● A shot angle is dictated by where the camera is placed in
relation to the character or subject. If a camera is pointed
directly straight and perpendicular to the ground, it's a
90-degree angle. If it's pointing up or down, it's at an
angle.
● Coverage in cinematography is a term that describes
shooting a scene from different types of camera angles,
viewing angles, and distances, thus giving you the raw
material you need to edit the frames of that scene into a
single visually attractive and emotional message to the
viewer. Each shot type or each angle requires a different
approach.
What is Camera Angles and Shots?

5. Satyajit Ray
● Satyajit Ray was born on May 2, 1921, in a
knowledgeable and wealthy family in Calcutta,
India.
● Satyajit Ray's several movies had a huge impact
on society. Also, he worked on different arts like
Literature, Music, Films, illustrator.
● Some of his most popular films are Shatranj Ke
Khiladi (1977), Charulata (1964), Sadgati
(1981), Agantuk (1991), Anukul (2017)
● “Shatranj Ke Khiladi”(1977) and “Sadhgati” are
the example of the discussion.

6. Low Level Angle
● The Ravan statue is too big. The low-level angle
was the only option to cover the huge statue for
that time because of lack of resources.
● The used of low-level angle which says that,
though Ravan is a villain he is more powerful
than the common people.
Eye Level Shot
● The frame has full shot which has covered
everything.
● To introduce both the characters Ray took an
Eye-level shot. The eye-level shot can result
in the neutral perspective of the characters.
Shatranj Ke Khiladi (1977
Sadgati (1981)

7. Wide-angle
● A shot in which a figure can be seen from head
to toe.
● The wide-angle will show the complete set of the
scene including light in different places, some
hidden symbol which relates to the characters,
more than two people can be visible and last but
not least characters emotions.
● This angle has an opportunity to show the hidden
part of the scene like Hookah bottle.
Close up shot
● Close up shot, the subject's head/face takes up the
majority of the frame and therefore, allows their
reactions and emotions to dictate the scene.
● Close-up camera shot size keeps the characters eerily
distant even during their face-to-face conversation.

8. Shoulder level angle
● The angle is also slightly top to cover the reason behind the
action. Action scenes are never made without any reason
● Action sequences are mostly taken from the shoulder level
angle because viewers always want to watch the reaction of
another person who is facing it or doing it.
● The shoulder angle is required when we want to show
someone is shooting on the protagonist which means that
the hero is on our side and the antagonist is against the
audience, so while he shooting on the protagonist, we feel
that that attack was for us also.
Over the Shoulder Shot
● The shot knows as OTS.
● Most of the filmmakers use it to show two-person communication or action scenes
like this.
● The shot is possible only when the camera is placed just on the back “off-screen”
in which the actor's shoulder is visible and the audience feels the same as that
character feels when they are communicating.

9. Medium shot
● Also known as the ¾ shot, the
medium shot typically shows the
subject from the knees up.
● Medium shots always make
composition precise and perfect in
terms of calculation. As we discuss
moving camera has a lot of variation
in the angle simultaneously the
shots also have various.
● The medium shot effectively bridges
the gap between the purely physical
and the internal realms of the
character.
(The Painting is
made by Raja Ravi
Varma.)
Sadgati (1981)

10. Two shot
● Two characters
● The two-shot/group shot is taken when
both the characters are equally important
for the film
● This shot has helped to equalize the
importance of the other person.
● Because of the height of the protagonist
character his wife could be dominant if the
cameraman takes the upper angle or wide
shot.

11. Full-Length Shot
● The full length shot is just as the name implies and shows the
entire body of the subject from head to toe.
● This shot has the opportunity to cover anything which is laying
down on the surface and character action with that thing. The
full-length shot only gives justice to the main subject when
there is a single shot.
● Mostly the camera sets on the tripod that static during this shot.

12. Conclusion
In conclusion, Satyajit Ray's camera angles and shots are
essential elements of his cinematic storytelling. They
convey power dynamics, evoke deep emotions, establish
settings, and create moments of reflection and unease.
Ray's unique approach to cinematography adds a layer of
artistry to his filmmaking that enriches the viewer's
experience.

13. References
● Dave, Raj. A dissertation on a semiotic analysis of framing in Hindi
films of Satyajit Ray. Diss. 2021.
http://117.244.107.132:8080/xmlui/bitstream/handle/123456789/65
1/RAJ%20DAVE%20-%2018165009%20-
%20Final%20Project.pdf?sequence=1&isAllowed=y Accessed 20
October 2023.
● Fanani, Ahmad Zainul, Supeno Mardi Susiki Nugroho, and Mochamad
Hariadi. "Virtual Camera Control Based on Cinematographic Rules of
Camera Shot and Camera Angle.’’ Researchgate.net, 9 March 2019,
https://www.researchgate.net/profile/Ahmad-Fanani-
6/publication/306046539_Virtual_Camera_Control_Based_on_Cinema
tographic_Rules_of_Camera_Shot_and_Camera_Angle/links/5f0ae0a
94585155050a020c7/Virtual-Camera-Control-Based-on-
Cinematographic-Rules-of-Camera-S. Accessed 20 October 2023.

14. ● Henderson, Brian. “Toward a Non-Bourgeois Camera Style.”
Film Quarterly, vol. 24, no. 2, 1970, pp. 2–14. JSTOR,
https://doi.org/10.2307/1211215. Accessed 20 Oct. 2023.
● Sutherland, Dale. Going to the Movies: A Guide to Film Study.
Essential Resources, 2004.

15. Thank You