In Tomas Alfredson’s Let the Right One In (2008), cinematographer Hoyte van Hoytema chose the technique of shallow depth of field to evoke different emotions in the spectator. It showcases his choice of short focal depth to affect the spatiality and alienate his characters from the world they live in. With this case-study, I want to examine the use of depth of field as an aesthetic constant to affect the way the spectator perceives the image.
Comparing with different films with varied depth treatments, I want to find out how cinematographers affect perception of depth by creating monocular visual cues in a scene and enchance visual dramaturgy of a film.