12019-01-28T00:44:37+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11The Paradine Case (1947)plain2019-01-28T00:44:37+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bAt first, the camera dollies back and to the right, booming downward to frame a two-shot. Then dolly grip Morris Rosen does something remarkable—he pushes the dolly in toward Anthony, allowing operator Eddie Fitzgerald to frame an over-the-shoulder composition looking toward Gay. Notice that Rosen has not simply pushed the dolly back to where it started. Repositioning the wheels midshot, he has changed the dolly’s orientation toward the action. The fact that the adjustment is so subtle is what makes it so revolutionary.
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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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12019-01-27T22:00:43+00:006.8 The Paradine Case1The Paradine Case (1947)plain2019-01-27T22:00:43+00:00Critical Commons19472019-01-27T18:44:48ZVideoAlfred HitchcockThe Paradine Case