12019-01-27T22:16:34+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Letter from an Unknown Woman (1948)plain2019-01-27T22:16:34+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bLutz Bacher has described Max Ophuls’s signature technique as the “rhythmic long take.” We see that rhythm here. The harp, the carriage door, the piano, the movers—all are interposed between Lisa and the camera at some point during the sequence. Although Ophuls does not bury Joan Fontaine in the background of the shot, he does create an alternating pattern whereby attention shifts from Lisa to the harp to Lisa to the movers to Lisa to the piano and back to Lisa again.
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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
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12019-01-27T21:58:52+00:005.11 Letter from an Unknown Woman1Letter from an Unknown Woman (1948)plain2019-01-27T21:58:52+00:00Critical Commons19482019-01-26T01:18:32ZVideoMax OphulsLetter from an Unknown Woman