In In the blink of an eye book (page 6), Walter Murch explains that displacements at the moment of the cut should be either subtle or total:
What we do seem to have difficulty accepting are the kind of displacements that are neither subtle nor total: Cutting from a full-figure master shot, for instance, to a slightly tighter shot that frames the actors from the ankles up. The new shot in this case is different enough to signal that something has changed, but not different enough to make us re-evaluate its context: The displacement of the image is neither motion nor change of context, and the collision of these ideas produces a mental jarring—a jump—that is comparatively disturbing.
As I understand it, all following cuts are total, right?
A cut from a person walking down the street to the same person leaving the elevator and walking to the door of his flat,
A cut from a person walking down the street to the same person turning at the corner of the same street,
A cut from a person walking down the street with the camera showing him from the front to the same person on the same street with the camera from behind,
But then, what exactly is a subtle displacement? A displacement which is neither subtle nor total?
Would a cut from a 35mm shot of a house with a person in front of it to a 50mm shot of the same house and the same person will be considered as a subtle displacement?
I don't recall seeing any subtle displacement in movies. Are they used at all? Are there any well-known examples of such cuts?