1) might be called 'subjective POV' or 'subjective camera,' I suppose. I don't think Cinema Verite is the right term. It is not an attempt to cut away layers of production, but, rather, highly designed production effect that I think he uses not only to lend a feeling of immediacy, but of authenticity: since it is typical of that kind of filming, and, perhaps, of the archival material that comprises the visual frame of reference most of us have of the war. With respect to the latter, Spielberg used a similar technique in Schindler in staging a number of scenes to closely resemble archival stills.
2) [don't know the film]
3) Although this does bring the viewer into the set, it also removes -- or alienates -- him from the action. Since it both makes us aware of the camera and causes us to identify with it it would be a sort of hybrid of objective and subjective perspective.
4) Don't know the film but "in danger of being cheesy" comes to mind as a term.
Hitchcock famously played with breaching the plane of the screen and, rather than drawing the viewer in, rupturing the plane and attacking him. His pretty much says this of the cold, staring eye of the shower scene victim in Psycho. What he does *not* say is why he holds the shot so long that she finally can't help but twitch her eye. I suspect it's all part of the same ploy, though.
Sorry, that's not much help with the specific terminology. I just wanted to point out the the techniques you mention are related, but quite different from each other.
