Hierarchical textual compositions and (post-)colonial framing in The View from Up Here

The article analyses the hierarchical visual compositions and framing of Marco Calvani’s The View from Up Here and argues that its carefully structured compositions create a metaphorical imbalance in power between the two main characters, an American housewife and a Syrian refugee. The repeated use of low-angle camera positions and the claustrophobic framings adds a connotative layer to the film that emphasizes the subaltern refugee’s inferior status in the view of the American.