(1) In film, a camera perspective that is identified with the perspective of a character via point-of-view shots. (2) A perspective that is so dynamic in terms of angle, movement, and distance as to preclude any pretense toward objectivity, despite not being identified with the point of view of any person (e.g. the opening shot of Rear Window). It is generally thought that film cannot render the purely subjective point of view of the literary first-person narrator, as the camera can neither sustain a point-of-view shot for an extended period nor imply that the point-of-view shots are somehow shaped by the narrator's perspective.