12019-01-27T21:08:36+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b12The Human Comedy (1943)plain2019-04-26T19:22:40+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe bright exterior lighting allows cinematographer Harry Stradling to photograph the park scene in deep focus, juxtaposing Tom and Diana in the lower foreground with the vividly costumed dancers in the upper background. The laterally moving camera treats each group as a separate entity, with its own dances, its own costume design, and its own music, suggesting that each group’s ethnic identity has been carefully preserved, not melted away.
12019-01-27T20:41:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Three: Dynamism, Seriality, and ConvergencePatrick Keating3Chapter on the use of the moving camera in the representation of modernityplain1272019-01-28T02:02:02+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T20:48:29+00:003.15 The Human Comedy1The Human Comedy (1943)plain2019-01-27T20:48:29+00:00Critical Commons19432019-01-25T15:52:08ZVideoClarence BrownThe Human Comedy