in a scene and consequently altering the perspective of the action and the spatial orientation established in the original shot. There are a variety of ways to avoid confusion related to crossing the line due to particular situations caused by actions or situations in a scene that would necessitate breaking the 180-degree line. The movement in the scene can be altered, or cameras set up on one side of the scene so that all the shots reflect the view from that side of the 180-degree line. Another way to allow for crossing the line is to have several shots with the camera arching from one side of the line to the other during the scene. That shot can be used to orient the audience to the fact that they are looking at the scene from another angle. In the case of movement, if a character is seen walking into frame from behind on the left side walking towards a building corner on the right, as they walk around the corner of the building, the camera can catch them coming towards the camera on the other side of the building entering the frame from the left side and then walk straight at the camera and then exit the left side of the frame. To minimize the "jolt" between shots in a sequence on either sides of the 180-degree line, a buffer shot can be included along the 180-degree line separating each side. This lets the viewer visually comprehend the change in viewpoint expressed in the sequence. Style In professional productions, the applied 180-degree rule is an essential element for a style of film editing called continuity editing. The rule is not always obeyed. Sometimes a filmmaker purposely breaks the line of action to create disorientation. Carl Theodor Dreyer did this in The Passion of Joan of Arc; Stanley Kubrick also did this, for example, in the bathroom scene in The Shining. Directors Jacques Demy, Tinto Brass, Yasujirō Ozu, Wong Kar-wai, and Jacques Tati have also ignored this rule sometimes, as has Lars von Trier in Antichrist. In the seminal French New Wave film À bout de souffle (Breathless), Jean-Luc Godard breaks the rule in the first five minutes in a car scene which jumps between the front and back seats, improvising an "aesthetic rebellion" for which the New Wave would become known. When the rule is broken accidentally, or for a