The Dynamic Frame: Camera Movement in Classical Hollywood

3.x22 Footlight Parade

Formally, this shot is similar to the seriality shot from “We’re in the Money” (see 3.7), also choreographed by Busby Berkeley. In both, the camera starts on one subject, moves down the line to reveal one face after another, and then surprises us by returning to the original subject. Functionally, the emphasis has shifted from gendered seriality to racial and ethnic convergence, though most of the Asian women are played by white performers wearing appalling “yellowface” makeup.

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