Use of shots in William Friedkin's "The Exorcist"

     In the first version of The Exorcist (1973), directed by William Friedkin, we can appreciate how the different uses of camera shots can contribute significantly to the scenes. In the movie there is a scene where the priest goes into the room where Regan is (the girl who is possessed) and he begins trying to get accustomed to the situation.

     As soon as the priest, Father Merrin, walks in, the viewer sees Regan from afar completely possessed and tied to the bed. The denotative meaning of this long shot lets the viewer know the basics, there is a girl who is possessed and she's tied to the bed. Now, the connotative meaning of this shot makes Regan look completely isolated (since there's a significant distance from the bed to where the door is).
     Next, the Father walks closer to the bed and stands in front of her. This medium shot's denotative meaning lets the viewer know a little more about what's happening. Regan exchanges a few words with him (this is where connotatively we could say that the shot tells us about the relationship Priest-Regan) and it becomes pretty clear that she's possessed.

     Finally, there is a close-up shot to Regan's face showing her detailed. Regan's inhumanity becomes almost tangible to the viewer. The connotative meaning of this shot even lets one know how she feels. The viewer now understands completely her anger and her defiance. This is how the use of camera shots can help the scene develop.