个人陈述代写：POV与真人秀观众感知的关系
Bazin、Reisz和Millar认为，电影从其与现实和设备相关的意义出发，必须承认它是一种关系，存在于与感知相关的一般条件反射和人们成为观众时影院所施加的感知条件之间。相机的自由和观众的注意力自由都有其特定的局限性。巴赞举例说明，相机视角需要没有第三人称无所不知的叙述那样的限制，也不应该是主观隐私(Bullert 1997)。他说，相反，POV应该被视为一种没有任何偶然性的观看方式，同时保持视觉的具体质量和条件。从这个角度来看，可以说POV技术只是提供了一个暗示现实的机会。单纯的看的行为，把明显看到的东西放在一边，需要通过视觉的实际条件作用加以限制。科克托认为，然而在真人秀节目中，一个事件是通过一个钥匙孔看到的，并进一步断言，观众从这个钥匙孔中获得的印象与此有关，有侵犯隐私的因素。这也可以称为“观看准淫秽”。
因此，有必要了解POV与真人秀观众感知的关系，以及POV在真人秀节目中是否真正意义上的应用。本文的研究范围在于分析电视真人秀节目的真实性，以及西洋镜等节目中pov的使用。
剧本的写作方式表明，观众有能力捕捉到基思(1996年哈特利)尚未意识到的线索。他在书中提到他的孩子和他一点都不像。他还暗示了一个事实，他深爱的孩子不是他的而是事实;他们可能是他最好的朋友。基思在最初的系列中也透露了一些线索，关于他的广泛的活动，这是一个事实，观众已经承认马里恩的婚外情之前，基思自己弄清楚。随着剧情的发展，Keith这个角色被刻画得很深情，用POV的手法来暗示他的同情和愚蠢。
马里昂和杰夫在IMDB评分评估中的表现是8.3分(满分10分)。简而言之，所有评论的共同观点是，尽管该系列是一个独白，观众除了基思之外看不到任何其他面孔，但该系列的书面形式是令人钦佩的(Lebow 2006)。只有基思的观点，但观众能清楚地看到真实的情况。主角的视角触及到观众，这也是该剧低调的原因，也是观众着迷的悲剧喜剧集中主题。
据英国《每日电讯报》和《卫报》报道，西窥秀通过POV的使用，营造了一种沉浸式偷窥的拍摄氛围，这使得西窥秀能够通过声音来揭示主角内心深处的想法(Roscoe et al . 2001)。然而，一群忠实的粉丝却暗示，这部剧的表演非常扎实，相关dvd也卖得很好。
当观点到达观众时，他们会觉得自己个人感知中最具魅力的内心想法被人物所引用。触及到一般但非常尴尬的情况，会产生一种大多数观众都能设法表现出来的现实感。
个人陈述代写 ：POV与真人秀观众感知的关系
According to Bazin, Reisz and Millar, cinema from its realistic and device related sense has to be acknowledged as a relationship lying between perception related general conditioning and perception conditions that cinema imposes when people become audiences. The freedom of the camera and the attention freedom of the spectator have specific limitations, consequently. Bazin illustrates that camera based point of view needs to have no limitation like the omniscient narration of third person and it should neither be a subjective privacy (Bullert 1997). He says, instead, POV should be considered as a way to see without any contingency while preserving the vision’s concrete quality and conditioning. From this perspective, it can be said that the technique of POV simply provides an opportunity to imply reality. The mere act to see, keeping aside what is evidently seen, needs to be restrained through real conditioning of visions. According to Cocteau, however in reality TV an event is seen by a key hole and additionally asserted that the impression obtained by the audience from this keyhole has an element of privacy invasion associate with it. This can also be called as the “viewing quasi-obscenity”.
Therefore, it becomes necessary to understand the relationship that POV holds with the perception of audience in reality TV and whether or not POV in its true sense is applied in reality TV shows. The scope of this paper lies in analysing the truth in reality TV shows and the use of POVs within shows such as Peep show.
The manner in which the script is written depicts that the viewers have an ability of picking up hints that have not yet been realized by Keith (Hartley 1996). There are various references that he gives of his kids not resembling him in any way. He also provides a hint to the fact that the kids that he so dearly loves are not his but as a matter of fact; they might be his best friends. Clues are also given by Keith in the initial series on the activities of his wide, and it is a fact that viewers have acknowledged on the affair of Marion prior to Keith figuring it out by himself. The character of Keith is portrayed affectionately with POV technique used to imply his sympathy and dunce, as the growth in the series takes place.
The show of Marion and Geoff as per IMDB rating review is 8.3 out of 10. In brief, the common perspectives in all the reviews were that even though the series is a monologue and the audience does not get to see any other face apart from that of Keith, the written format of the series is admirable (Lebow 2006). There is only the point of view of Keith but it becomes evident to the audience on what is happening in the real sense. The point of view of the main character reaches the audience and this is what makes the show low key and a tragic comic centralized theme that the audience gets hooked on to.
According to the Telegraph and Guardian, the Peep show has an immersive and voyeuristic filming through use of POV and this allows for the show to reveal the innermost thoughts of the leading pair which the audience is able to hear through use of voice over (Roscoe et al 2001). A fiercely loyal base of fan, however, implied that the show performed in a solid way and sold properly the DVDs related to it.
When the point of views reaches the audience, they feel that the charismatic innermost thoughts of their individual perception are being cited by the characters. Touching upon general yet highly awkward situations creates a sense of reality that most audiences did manage to reveal.
