German film director F.W. Murnau was known for using the camera subjectively to interpret the emotional state of a character in his films. For example, Der letzte Mann (1924; āThe Last Manā; English title The Last Laugh), Murnau used a mobile camera style, in which the camera moved through city streets, crowded tenements, and hotel corridors and played an integral role in the film by recording people and incidents through a limited point of view. Bound by the technical restrictions of the time, the noted cinematographer Karl Freund employed such ingenious techniques as cameras mounted on bicycles and overhead wires to create a whirlwind of subjective images; for one memorable sequence, Freund strapped a camera to his waist and stumbled across the set while on roller skates in order to portray the viewpoint of the drunken protagonist.
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