She gains traction on her position by looking at the conventional point of view in Hitchcock 's films where there is often a shot of a character looking at something off-screen immediately followed by a shot of something the character fancies to see but is not physically able to at the particular moment. She notes how these types of point of view shots develop an emotional relationship with the audience s they too feel the desires the characters do. She therefore is highlighting the other point of Stam’s, that being the emotional stance of point-of-view that is adapted from a source
She gains traction on her position by looking at the conventional point of view in Hitchcock 's films where there is often a shot of a character looking at something off-screen immediately followed by a shot of something the character fancies to see but is not physically able to at the particular moment. She notes how these types of point of view shots develop an emotional relationship with the audience s they too feel the desires the characters do. She therefore is highlighting the other point of Stam’s, that being the emotional stance of point-of-view that is adapted from a source