Cheers for all your comments. All 3 have confirmed something i was trying to devise. I'm seeking to build an argument that shallow depth of field combined with Close-ups particularly of fingers, enhance spectator identification with character as this type of vision allows for an embodied sensation of touch, along the lines of Vivian Sobchack's theory.
The shallow depth i think resembles that kind psychological introspection of the thousand yard stare variety. especially in CU and XCU, a kind of 'relaxed mind'. especially in combination with shots of touching. which is the realism that u mention Chris, an embodied realism that as you say David, 'mimics the psychological state of the character'.
And as you say Leo 'The mind can be selective in ways a lens and camera cannot be' which is where shot choice comes in.
Thank you all gents, for your comments, would you mind if i included this post in my essay?
Regards Steve