The way in which subjects and objects are framed within a shot produces specific readings. Size and volume within the frame speak as much as dialogue. So too do camera angles. Thus, for example, a high-angle extreme long shot of two men walking away in the distance, (as in the end of Jean Renoir's La Grande Illusion, 1937) points to their vulnerablility - they are about to dissapear, possibly die. Low angle shots in medium close-up on a person can point to their power, but it can also point to ridicule because of the distortion factor.