12019-01-28T00:49:26+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b12Black Widow (1954)plain2019-01-28T00:49:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThis scene follows a logical progression, slowly granting more importance to Brian while paradoxically reminding us how unimportant he is. In the group shot, he has the fourth-best position. In the three-shot, he has the third-best position. In the two-shot, he has the second-best position. Only in the single does he have compositional priority, and even here he delivers his jolt of information in a medium-long-shot profile.
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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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12019-01-27T22:01:08+00:006.11 Black Widow1Black Widow (1954)plain2019-01-27T22:01:08+00:00Critical Commons19542019-01-27T19:08:42ZVideoNunnally JohnsonBlack Widow