12019-01-28T00:46:26+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Rope (1948)plain2019-01-28T00:46:26+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bHitchcock claimed that he designed the long takes of Rope to follow the familiar logic of scene construction, moving from wide shots to close-ups and back again. However, it is important to recognize that the experience of watching the eight-minute take is somewhat different. Rope’s compositions do not simply progress from cut to cut; they change before our eyes. For instance, when the camera sweeps past Brandon to Philip to Rupert, we may expect the camera to rest on someone but we cannot know who that someone will be.
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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