In filmmaking, the 180-degree rule is a basic guideline regarding the on-screen spatial relationship between a character and another character or object within a scene. An imaginary line called the axis connects the characters, and by keeping the camera on one side of this axis for every shot in the scene, the first character is always frame right of the second character, who is then always frame left of the first.
Shooting in the round refers to a style of cinematography in which the 180-degree rule is broken and the actors are filmed from multiple sides. During instances like TV show panel discussions, shooting in the round can help the guests feel like all the panelists are equal and create a feeling of greater intimacy.
In the scene where the Joker confronts Rachel Dawes, Nolan completely shatters the 180-degree rule and leaves traditional methods of shooting in the round behind. An orbital shot is performed where the camera rotates around the conflict in the center. The abandonment of balance and stability throws viewers off. The camera begins to spin faster and faster throughout the scene, mirrored by the high strung and anxious sounding violins that build in speed and key. It’s as if we’re watching some kind of horrifying, nightmarish jack-in-the-box. It’s winding up quicker as time slowly ticks by; as time passes, the viewer gets increasingly disturbed, and the seconds seem to slide by as if they were years.
ATHOS is a mountain; unmovable, defiant, dependant. he is the surface of a body of water with unfathomable depths, still and unearthly. he is the tremor of an earthquake. he is the breath that burns in the hollow of your chest. he is a flame that burned so brightly it pitched itself into darkness. he is a misty morning. he is a backbone carved from granite - made to endure.