Most of what you're describing is spatial. _Hukkle_ (2002) is an interesting example, a Hungarian film with a freely mobile camera, including subterranean shots. It seems allied to the notion of omniscient narration, except in literature that usually refers to the ability of a 3rd person narrator to convey a character's interiority.
Time-lapse cinematography is another version of this effect, but in temporal terms. Jonz's _Adaptation_ (2002) has a sequence near the end in which evolutionary history is represented in a few minutes. Robert LePage's _Le Confessional_ (1996) does shorter spans--maybe 10 hours compressed into a 15-second shot as a block of trout-embedded ice melts in a sink. Unlike the _Adaptation_ example, the scene in _Le Confessional_ could be viewed by an individual spectator, but the character in the scene is asleep during the hours of melting.
Seems worth it to distinguish between space and time in making these distinctions.
--LH
Larry Howe
Professor of English
Chair, Department of Literature and Languages
Roosevelt University
________________________________________
From: Film-Philosophy [[log in to unmask]] On Behalf Of Cormac Deane [[log in to unmask]]
Sent: Friday, April 26, 2013 9:56 AM
To: [log in to unmask]
Subject: Re: [FILM-PHILOSOPHY] floating POV
Thanks for the responses so far.
An aspect of this that I am trying to capture is the impossibility of
the viewing position in question - no person nor any camera could be
the appropriate size, have the appropriate maneuverability, or exist
in such a virtual dimension, yet we are provided with a view that
seems to emanate from a moving entity.
Perhaps virtual POV, as Gavin suggests, or point of virtual view
(POVV).
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