P.O.V.

P.O.V.

1. Alternative form of POV (“point of view”)
   • 1971, Take One:

     As she climbs up, a subjective tracking shot from her P.O.V. gradually reveals a sea of faces staring at her from the gallery.

   • 1973, Eugene Benson, editor, Encounter: Canadian Drama in Four Media, Methuen, →ISBN, page 136:

     From their P.O.V. we see the long, high hill with the single, giant oak tree.

   • 1974, The New Review, pages 30–31:

     ALISON holds the door open as first PETER then CHARLES pass, see them from her P.O.V. and then her eye going to the ash-tray containing PETER’s stubs, and his glass and the scotch, as over: […] BOY applauds, and on him clapping and looking first down, into the court, then up again, as if at MASTER, see, as if from his P.O.V. but CUTTING TO: […]

   • 1978, CoEvolution Quarterly, page 97:

     His office had confirmed his coming and CBS had dispatched a video crew from TVTV to report the Jamboree from his P.O.V. (point of view – I imagine Marlon’s view would be mostly eyes and clicking and whirring glass).

   • 1978, J. Philip Di Franco, editor, The Beatles in Richard Lester's A Hard Day's Night: A Complete Pictorial Record of the Movie, Penguin Books, →ISBN, page 271:

     While they are doing so they look again in the general direction of SHAKE and GRANDFATHER and from their P.O.V., we see SHAKE is beating time to the music but from his wrist dangles an empty set of handcuffs.

   • 1978, Jack Rosenthal, Three Award-Winning Television Plays, Penguin, →ISBN, page 114:

     From their P.O.V. we pan […]

   • 1980, David Williamson, Gallipoli: Screenplay, Cinestore, page 23:

     ARCHY whirls around and we see, from his P.O.V. that the voice belongs to LES McCANN, the stockman.

   • 1981, Harold Pinter, The Screenplay of The French Lieutenant’s Woman, Cape, →ISBN, page 46:

     The dairy field. Mrs. Fairley’s P.O.V.

   • 1983, George Kennedy, Murder on Location, Avon, →ISBN, page 95:

     Here’s Blossom in the pool—high-angle long-shot—and here’s the young cowhand who’s discovered her there and we’re looking at her from his P.O.V.

   • 1985, English in Australia, page xii:

     Students are given a number of options chalkboarded and are to rewrite from the P.O.V. of either: […]

   • 1985, Joanne Klein, Making Pictures: The Pinter Screenplays, Ohio State University Press, page 108:

     From his P.O.V. sees CHARLUS in front of the playbill.

   • 1989, Īraj Jannatī ʻAṭāʼī, The Night Sun, Methuen Drama, →ISBN, page 174:

     From her P.O.V. we see the negative image of Jamshid.

   • 1993, Rukhsana Ahmad, Maya Chowdhry, Winsome Pinnock, Trish Cooke, Meera Syal, Zindika, edited by Kadija George, Six Plays by Black and Asian Women Writers, Aurora Metro Press, →ISBN, page 111:

     […] from her P.O.V. we move towards the door from behind which the sound of the lovers’ moans and the creaking bed come.

   • 1994, Film Score Monthly, page 2:

     On the way up, we get a shot from his P.O.V. through the shimmering clouds, accompanied by stock choral/heaven music.

   • 1995, Cinefantastique, page 20:

     It’s all done from her P.O.V., dubbed ‘Anna-Vision’.

   • 1998, Irish University Review, page 326:

     (The passing sidestreets from her P.O.V.)

   • 2001, The New Yorker, page 35:

     See things from their P.O.V. once in a while!

   • 2002, Igby Goes Down: The Shooting Script, HarperCollins, →ISBN, page 90:

     From his P.O.V. we are able to make out Oliver bending over him.

   • 2002, The Emperor’s Club: The Shooting Script, Newmarket Press, →ISBN, page 62:

     From their P.O.V. / It's a ghost town out there, until the IRATE LIBRARIAN, ball in hand, marches outside to string up whoever smashed the window.

   • 2002, Pretext, EAS Publishing, →ISBN, page 89:

     As they emerge we see the shopping centre from her P.O.V. and for a split second, in a frozen moment, she sees the mother waiting for the Very Small Girl as her own, smiling at her, waiting for her to come back from the grotto.

   • 2003, The New Yorker, page 80:

     In the photo, taken from his P.O.V., we could see, in addition to his penis, his feet, in black socks.

   • 2006, Stephen E. Bowles, Ronald Mangravite, Peter A. Zorn, The Screenwriter’s Manual: A Complete Reference of Format and Style, Pearson A & B, →ISBN, page 91:

     Regardless of whether the object of the P.O.V. is inside or outside the master shot, you can only describe what the observing character can see from the P.O.V..

   • 2007, Marina Abramović, Nancy Spector, Erika Fischer-Lichte, 7 Easy Pieces, Charta, →ISBN, page 148:

     It would be so awesome if she had, if they could figure out a technical way where there was video from her P.O.V. / Amanda: Ah, so we’re getting her perspective.

   • 2009, George Mann, editor, The Solaris Book of New Science Fiction, Solaris, →ISBN, page 273:

     It’s a change that takes millions of years, although from her P.O.V. it happens with devastating rapidity.

   • 2013, Rob Rimes, Scalping Jackals: A Whiskey-Fueled Critique of the 2012 Election, Lulu.com, →ISBN, page 65:

     Bachmann goes on to explain, from her P.O.V., that the 999 Plan is just going to open the door for a VAT tax.

   • 2015, Michael Roemer, Film Stories, Scarecrow Press, →ISBN, page 198:

     PARKING LOT, FROM THEIR P.O.V.