12019-01-27T21:30:23+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Casablanca (1942)plain2019-01-27T21:30:23+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bAfter Renault steps forward, the film cuts to a close-up of Ilsa. Immediately, the camera follows Ilsa as she moves past Rick into a three-shot with Victor, Ilsa, and Rick. This changing composition carries thematic significance: after Rick’s (apparent) betrayal, Ilsa moves from Rick’s side of the room to Victor’s. Now she occupies a position between the two men, leaning closer to the one she admires and away from the one she loves.
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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