The text explores the connections between perspective as conceived in painting and art theory and certain motifs in Ema Kugler’s films. Just as the metaphorical meanings of perspective vary, so do the perspectival motifs in Kugler’s films. The text attempts to show how, in Kugler’s early films, perspective functions predominantly as an element of set designs. In her later works, however, perspective functions as an actual present entity in contact with the characters, the camera and the spectator.

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