A Dutch angle is a technique in filmmaking that is used to throw viewers off balance and create a sense of disorientation. This shot is made tilting the camera in relation to the scene, resulting in an image with an angled horizon rather than a straight one. This technique is overused in some genres, leading to ridicule and criticism, but when used strategically, it can be a very effective tool, as shown in numerous art films.
A canted, oblique, German, or Batman angle is another name for a Dutch angle, and shots with the camera Dutched are often referred to as angled or oblique shots. When filmmakers use this technique to shoot a scene, they usually also shoot it at a regular angle, allowing them to work with both in the editing room in case the titled version does not turn out as planned.
The Dutch angle has its origins in German cinema, where it was popular in the 1930s and 1940s. The name’s “Dutch” is said to be a misspelling of Deutsch, which means “German.” The technique spread quickly from Germany to other parts of the world, peaking in the 1950s and 1960s, particularly in the television series “Batman,” where these angles were so common that viewers could be forgiven for being confused a straight horizon.
The use of this technique unquestionably creates a distinct mood. Because people are naturally drawn to finding an even horizon, a Dutch angle can make viewers feel uneasy or even nervous. By throwing viewers off balance, such angles are frequently used to emphasize a character’s alienation, madness, or disorientation. A canted shot can also add tension to a scene, especially if the film’s crew is experimenting with light and framing.
Many Dutch angles are static, meaning they remain fixed, though they can also be moving shots with the camera moving on a dolly. These angles can also be used in montages, where the angle shifts from right to left and back again as the montage progresses.
Some people believe that using the Dutch angle is “cheating,” as it is a very manipulative tool. However, one could argue that the entire point of filmmaking is the manipulation of reality, and that using any number of tools to create a mood is acceptable.