12019-01-27T22:13:20+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11High Wall (1947)plain2019-01-27T22:13:20+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe camera’s movements—tighter and tighter—underline the scene’s gradual upticks in intensity. We see the doctor, the patient, and the ever-shrinking space between them. The camera never looks through anyone’s eyes, and, indeed, its movements remain visibly machinelike, craning up and down several times. But the quality of mimicry remains, imitating Dr. Lorrison’s determination as she forces Steve to confront the truth.
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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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12019-01-27T21:58:26+00:005.8 High Wall1High Wall (1947)plain2019-01-27T21:58:26+00:00Critical Commons19472019-01-26T01:03:15ZVideoCurtis BernhardtHigh Wall