The Knick, the 180-degree rule and forms of continuity

In a recent episode of The Knick, “Working Late a lot,” there is a scene where Dr. Levi Zinberg (Michael Nathanson) is giving a presentation on a new medical device. While there are shots of Dr. Zinberg, there aren’t as many as there typically would be of a speaking character. The focus is on Dr. John Thackery (Clive Owen), essentially moving his head from Dr. Zinberg, to Zinberg’s presentation board, to the audience, as he sits away from the majority. Immediately, this sequence stood out to me, as it should have for many viewers. The sequence takes importance away from Dr. Zinberg and gives it to Dr. Thackery (which is right, and I will say why shortly), but this isn’t the only reason why such a sequence stands out. While there might be more, like the amount of fast cuts (about 2 seconds each) in the sequence, I will draw attention to only one, i.e. the breaking of the sacred 180-degree rule.

For those who don’t know, the 180-degree rule requires filmmakers to film and edit where all the shots are from the same side of an imaginary line between the central characters/subjects/objects. This helps maintain continuity and not disorient the viewer.  Another way filmmakers keep continuity is to utilize eyeline matches. For instance, there is a cut to where the subject is looking. In this episode of The Knick both forms of keeping continuity are purposefully ignored. Well not at first. When Dr. Zinberg initially stands to present, the fast cuts are consistent with Thackery’s eye directions. He looks at Zinberg, then at the board, then at Zinberg, etc. The cuts are disorienting and distracting on their own. While I believe the fast cuts do the heavy lifting when it comes to disorienting the viewers, there are spurts where the 180-degree rule breaking adds the same effect. At one point, when the shot focuses on Dr. Thackery from a low angle, notice the shot doesn’t cut to the location of his eyes, which at one point is Dr. Zinberg, but rather the camera crosses the line to shoot Thackery from the other side of his face; the shot crosses the imaginary line between Dr. Thackery and Dr. Zinberg, i.e. due to Thackery’s eyeline matching that of Zinberg. When Thack rotates his head to the left to see the audience’s reaction to Zinberg’s device the cut delays for a second or two. Then, a cut is made, but again crossing the imaginary line, which is now drawn between Thack and the audience. This technique is so brief it is difficult to notice, but the sensation felt by this sequence is unavoidable. It’s disorienting for sure.

But, what’s my point? This is a particularly important technique, specifically because of where we are at this time in the show. Thack has integrated the hospital. He has made a major medical advance with Dr. Chickering (Michael Angarano). Cocaine isn’t easy to come by anymore. And on top of already being strung out, Thack is losing his shit. He feels out shined by an upcoming medical innovator. Many viewers might have felt the focus is on Thack because of the amount of camera time during this sequence, but don’t forget the filmmaking helps develop his character. We sense his impatience. The scene is fucking agitating. You can almost feel Thackery wanting to vomit at this point. This all builds to the dreadful and humiliating scene where Thack is unable to perform surgery and must leave the theatre.