12019-01-27T21:43:43+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11How Green Was My Valley (1941)plain2019-01-27T21:43:43+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe 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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12019-01-27T21:22:13+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Four: Constructing Scenes with the CameraPatrick Keating3Chapter analyzing three distinct methods of scene construction in Hollywood during the 1940splain1392019-01-28T02:08:29+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T21:16:49+00:004.12 How Green Was My Valley1How Green Was My Valley (1941)plain2019-01-27T21:16:49+00:00Critical Commons19412019-01-25T21:21:34ZVideoJohn FordHow Green Was My Valley