A term used to point to the continuity editing practice ensuring the logic of the look or gaze. In other words, eyeline matching is based on the belief in mainstream cinema that when a character looks into off-screen space the spectator expects to see what he or she is looking at. Thus there will be a cut to show what is being looked at:
- another character
Eyeline then refers to the trajectory of the looking eye.
The eyeline match creates order and meaning in cinematic space. Thus, for example, character A will look off-screen at character B. Cut to character B, who-if she or he is in the same room and engaged in an exchange either of glances or words with character A-will return that look and so 'certify' that character A is indeed in the space from which we first saw her or him look. This "stabilising" is true in the other primary use of the eyeline match which is the shot/reverse angle shot, also known as the reverse angle shot, commonly used in close-up dialogue secenes. The camera adopts the eyeline trajectory of the interlocutor looking at the other person as she or he speaks, then switches to the other person's position and does the same.