12019-01-28T01:46:21+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b12Touch of Evil (1958)plain2019-04-26T21:21:53+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe Dynamic FrameHome PageCharacter and camera move simultaneously: a huge figure becomes a tiny one in a matter of moments. This approach might seem like mindless virtuosity, but these little perceptual jolts serve several purposes: amplifying suspense by calling attention to the crowd of potential victims; helping us understand Mike and Susie, who delight in the town’s surprises; characterizing Welles’s “vertiginous” vision of the universe; and developing the theme of the permeable border by drawing our attention to a constant flow of entrances and exits.
12019-01-28T01:03:13+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bConclusionPatrick Keating2Final chapter, featuring an analysis of Touch of Evil's opening shotplain12019-01-28T01:47:30+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-28T01:45:16+00:00C.1 Touch of Evil1Touch of Evil (1958)plain2019-01-28T01:45:16+00:00Critical Commons19582019-01-28T01:37:06ZVideoOrson WellesTouch of Evil