The Dynamic Frame: Camera Movement in Classical Hollywood

4.12 How Green Was My Valley

The thirty-five-second shot starts with a fairly complicated maneuver, arcing around the back of the carriage, but the most significant movement is the one that the camera does not make. When the carriage drives away, the camera does not crane in toward the minister to emphasize his expression. There is not even a cut. Instead, the camera remains far away, the film’s reticence echoing the minister’s own, the camera’s distance underlining his separation from Angharad.

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