3) internally focalised shots (surface), which represent a character's experience of narrative events, as in optical point-of-view shots: we see what the character sees, when s/he sees it and from his/her exact spatial position; and
4) internally focalised shots (depth), which directly represent a character's complex experiences--dreams, memories, and so on.
To comprehend a particular shot as focalised is to impose upon it an anthropomorphic reading in which the "camera" imitates a character's experience of the narrative world.
In other words, the spectator comprehends these shots of Sam as being externally focalised around Marion's vision.
We shall consider in detail Branigan's discussion of the invisible observer to see if it constitutes part of the knowledge necessary for a spectator to motivate and comprehend the shots in Wings of Desire focalised around the angels.
Conventionally, spectators would comprehend this shot as non-focalised, but here it is focalised around Damiel.