A comparison between Dunmeri and Khajiiti media of the 5th Era

The New Masserian form of cinema has proven to be, whilst portraying a variety of themes and stories, very restrictive in terms of acceptable uses of cinematography. Only the foolish or criminal dare to film in anything outside of the acceptable aspect ratios laid forth in Avron Saren's "The Moving Image and the Velothiid". Within this, Dunmeri film adheres to strict rules regarding object placement and shot distances, which must be recorded in an accompanying document with each archival holding of the film. It became acceptable in Dunmeri society to leave a viewing if the object placement was not "desirable" in all but niche genres (which can only be scarcely found); most notably was the failure of the original "Homilies of Blessed Almalexia" where the director had shot a close up of Vivec, however placing the god's eyes in the centre of the frame as opposed to the top horizontal line. It's no wonder that the film had failed horribly when going against the strict usage of the rule of thirds. Another example can be found in what would have been a commercial success, Hlen's epic "ALMSIVI", had there not been half of a guar on the right side of the frame or the infamous "missing feet" scene, which caused a backlash from both the Temple and audience members alike; so much so that the film is now illegal to own, buy or sell.

Television, whilst still viewed as the degenerate cousin of New Masserian film by critics, is not very different from the more traditional art form. The only real differences are, obviously, the pacing of story progression and the fact advertisements are shown in between each broadcasted viewing. Advertisements have become an art form in their own right after being developed and experimented with for years. Whilst many disregard advertisements as just being "minute-long annoyances" during a program, they remain intimately tied to television broadcasting; which some contend holds back television form being considered a more legitimate medium.

Khajiiti film is, by contrast, far more lenient than Dunmeri standards. However, the demand for physical health and ability makes it much harder to become a performer; likewise, the ability to film the performers is a much harder task. As Khajiit traditionally disdain film montage, directing and filming is a much harder task. Instead of the usual Dunmeri still camera that zooms or pans to make certain shots, a Khajiiti director must move with their actors in every scene and shot. Instead of abiding by the rule of thirds, which appeals to the Dunmeri eye, Khajiit instead work with the "Circles of Concentration" method, which involves varying degrees of importance in a scene, the inner-most circle involving the most important subjects or objects and as the outer circles being of lesser relevance the further outwards they go. Some Pallatiit films are now working with the idea of multiple circles that grow outwards existing in a shot, but it is a niche genre at the time of writing.

Due to the culture clash between Pallatiit and Ne'Quinniit, most films are shot with the actors working with a two-dimensional setup; which causes either acrobatics or killing a character to be used as a means of transporting one character from one side of an actor to the other. Many Ne'Quinniit cannot distinguish depth in film and simply see the attempt to film with 3 dimensions involved as "just having different sizes of cats". Whilst this would be thought of as a hindrance, it often aids dramatic theorists in further expanding and developing the Circles of Concentration theory, along with improving shifts in focus.

The most popular form of film amongst Ne'Quinniit are action films, which focus around martial-arts prowess and a cunning protagonist out-smarting opponents. Most notable of these being Do'kujo, perhaps the most famous Khajiiti action actor, whom often uses the catchphrase "Your next line will be-" where he shows how he has already outwitted an opponent to the point of knowing their dialogue. At first, this was thought of as the actual actor knowing more of the script and intending on truly beating his opposing actor (with the full belief that the actors were truly fighting one another); audiences have learned from this and are much wiser for it. The desire for a realistic fight - whilst restricted by the aforementioned two-dimensional focus - drives many Khajiiti directors to push the limits of full contact violence between actors. Whilst veterans heavily discourage this, there is clearly a high demand for it in film.

Pallatiit are much more developed in film than their Ne'Quinniit neighbours. Whilst Khajiiti clothing is known for its colour and style, there's an organisation of Khajiit who work in plain black garments. They do this as it's much cheaper working in said bland clothes and it allows them to work with what they call "neutral colours"; plus, it gives them a feeling of belonging to a group. The one thing they share with Dunmeri film is the nature of religious films, which are largely a conglomerate of gods in various situations with basic moral lessons serving as the crux of the story.

The Dunmer have no particular issues when it comes to trading or collecting Khajiiti films, but their isolationist and arguably xenophobic culture leads to very few Khajiiti films existing on Masser. Khajiit, conversely, have heavily restricted outside media from the Dunmer in an effort to minimise outside influence on Khajiiti culture; not unlike what Khajiit used to do for books under the Septim Empire of Tamriel. However, like many other items, they can be found so long as you know where to look.