Vertigo: Point of View

According to Charles Barr (Vertigo, BFI Publishing, 2002), the first half of Vertigo alternates scenes that are silent vs. those that involve dialogue. The silent scenes are composed primarily of subjective POV shots, while the dialogue scenes tend to isolate the participants in separate shots.

Midge's apartment
Elster's office
Ernie's Restaurant
Pursuit by car
Mission Dolores
Art Museum
Elster's club
Old Fort Point
A rare early shot from Madeleine's point of view, as she drops flowers into the bay before her leap.

Scottie's apartment
Most of the pivotal scene in Scottie's apartment is shot either from his point of view or in shots that retain his sensibility. A key exception comes at the end, where Madeleine's point of view shows Scottie entering the bedroom to answer a phone call from Gavin Elster. Hitchcock does not, however, provide Madeleine the reaction shot that would normally be expected in point-of-view shooting.

Judy's subjectivity

Following Madeleine's death, Judy is given key point of view shots that show her subjectivity.
During the immediately-following scene in Ernie's restaurant, Scottie notices a double of Madeleine, who is then seen not from his point of view but from Judy's.

At the Portals of the Past, Judy looks longingly at two lovers while Scottie stares grimly ahead.
During the second drive to San Juan Batista, we see Scottie from Judy's point of view; there are also two shots from her point of view of the road and trees overhead.
At the climax in the bell tower, we see Scottie from Judy's point of view: "You shouldn't keep souvenirs of a killing. . . . You shouldn't have been that sentimental. . . . I loved you so, Madeleine."