12019-01-28T00:48:00+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Edward, My Son (1949)plain2019-01-28T00:48:00+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bIn this six-minute take, the actors hit a series of carefully judged marks. Sometimes the composition gives priority to Arnold, as when he sits smugly on the table; sometimes the composition gives priority to Evelyn, as when she steps forward to express her fear. These shifts in emphasis are never absolute. As Arnold sits on the table, his smugness visibly contrasts with Evelyn’s nervousness. As she steps to fore, her fear visibly contrasts with his anger. In place of revelation and concealment, we have the unfolding play of emphasis and understatement.
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12019-01-28T00:32:11+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Six: An Art of DisclosuresPatrick Keating3Chapter on long takes and the widescreen cinema of the 1950splain1992019-01-28T02:10:25+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T22:01:01+00:006.10 Edward, My Son1Edward, My Son (1949)plain2019-01-27T22:01:01+00:00Critical Commons19492019-01-27T19:05:35ZVideoGeorge CukorEdward, My Son