12019-01-27T21:37:42+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b12Citizen Kane (1941)plain2019-01-27T21:38:13+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bWhereas the puddle scene (see 4.7) uses the moving camera to break the scene down into distinct angles, this example models a very different approach to the long take, exploiting the resources of deep-focus cinematography to such a degree that extensive camera movement becomes unnecessary. The results look completely unlike cutting in the camera.
This page has paths:
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
This page references:
12019-01-27T21:15:57+00:004.8 Citizen Kane1Citizen Kane (1941)plain2019-01-27T21:15:57+00:00Critical Commons19412019-01-25T21:04:51ZVideoOrson WellesCitizen Kane