To understand the phenomenon of the oblique angle properly, firstly it is necessary to gain an approximate overview of different forms, functions and contexts and to observe the style and the operational fields. Secondly it should be investigated what forms of the oblique perspective are used in what contexts and to what ends. This investigation of the ways of describing and thus the dimensions of meaning of tilting the camera will be done within the horizon of a multidisciplinary approach that is oriented on image science.
I want to count all forms of pictures to the oblique angle (also Dutch angle, Chinese angle, canted camera or tilted shot) in which the horizon of the picture does not agree with the horizon of the audience. It is the form of tilting around the axis of the picture. Therefore there can be distinguished between the core and the marginal area. Within the core I distinguish the tilting (oblique position on the axis of the camera) variation of camera (back and forth movement on the axis) rolling on the axis (continuing rotation in one direction).
It is suggested that yet the most unusual camera perspective will become a normal devise of the film – will become a usual perspective – the more it is conventionalised.
The Lady from Shanghai is an unusual movie, a movie that throws overboard the conventions of fictional movies. As it will be shown, Orson Wells follows different strategies in his movie to irritate the audience and to deprive it of the control about the action.
