The TILT is also used to track a character's movements, such as when the character is rising from her seat before crossing the room.
The TILT is commonly used to allow us to look someone over; a beautiful foot in a beautiful shoe emerges from a limousine and as soon as it hits the pavement we slowly tilt up, taking in long legs, hips, torso, and finally Julia Roberts' face.
How many times have we seen a shot where the country bumpkin (or Crocodile Dundee) gets out of a cab in Manhattan, looks up, then we TILT to see how gosh darn tall the buildings are? In Three O'Clock High directed by Phil Jounou, our protagonist turns around and comes face to face with a belt buckle. Cut to the subjective camera as we tilt up to see the face of our antagonist as he threatens to kill the protagonist (and, due to the subjective nature of the shot, us).
And like the PAN, the TILT can be used to connect. In Citiizen Kane, Welles uses a tilt the last time we see young Charles' mother to connect the protective mother to her loyal son. It's a strong connection in a tense situation and serves to reassure young Charles (and the viewer) that the mother has only the best intentions for her son. It's the camera movement that tells us that, not the acting. It's the connection made in that movement between the mother's e