12019-01-27T22:03:26+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11The Magnificent Ambersons (1942)plain2019-01-27T22:03:26+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bAlthough this sequence may represent George’s point of view as he walks down the street, we never see George onscreen, suggesting that this muddled city has already erased his presence. Indeed, the sequence shows no people at all, as if the horrible growth of the city were proceeding of its own accord, untethered to human needs. Compare to earlier city montages, such as 3.4. See also my video essay on The Magnificent Ambersons.
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12019-01-27T21:53:13+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Five: Between Subjective and ObjectivePatrick Keating3Chapter on four trends in postwar filmmakingplain1832019-01-28T02:09:30+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b