12019-01-28T00:55:10+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Vertigo (1958)plain2019-01-28T00:55:10+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bIt is hard to watch this shot without imagining being in Scottie’s position, experiencing the world slip away. But notice that this example actually problematizes the familiar idea that the camera is the eye of the spectator. The physical camera that took the shot was moving in, toward the stairway. We see something very different onscreen: a stable frame around an elastic space. No matter how immersive the shot may be, it remains a shot: a rectangle filled with a dynamic composition.
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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