12019-01-28T00:41:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11The Big Clock (1948)plain2019-01-28T00:41:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe uninhibited camera is able to move anywhere without a (visible) cut. At first, the privileged knowledge seems empowering to the spectator. There are dozens of guards looking for the protagonist, but we spot him right away! However, the voiceover’s questions actually reinforce our awareness of our own ignorance. George knows exactly where he is, and we do not. The subjective voiceover reveals one sort of information; the hypermobile camera reveals another; neither provides complete understanding.
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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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12019-01-27T22:00:27+00:006.6 The Big Clock1The Big Clock (1948)plain2019-01-27T22:00:27+00:00Critical Commons19482019-01-27T18:37:13ZVideoJohn FarrowThe Big Clock