12019-01-27T22:05:47+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Shadow of a Doubt (1943)plain2019-01-27T22:05:47+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bAs in the amplified point-of-view shots discussed in Chapter One (see 1.x19, 1.x20, and 1.x21), the camera movement represents Uncle Charlie’s subjective experience without representing his optical experience. Uncle Charlie stands still, but the rapid movement suggests that he is focusing his attention on the incriminating ring.
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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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12019-01-27T21:57:26+00:005.2 Shadow of a Doubt1Shadow of a Doubt (1943)plain2019-01-27T21:57:26+00:00Critical Commons19432019-01-26T00:32:53ZVideoAlfred HitchcockShadow of a Doubt