12018-11-02T20:24:29+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Phantom Lady (1944)plain2018-11-02T20:24:29+00:00Critical Commons19442018-08-14T16:54:35ZVideoRobert SiodmakPhantom LadyPatrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12018-11-02T20:37:18+00:00Intro.1 Phantom Lady6clip from Phantom Ladyplain2019-01-24T02:00:40+00:00Compare this shot with the example from Mrs. Miniver (Intro.2). Both demonstrate the same convention, dollying in to a subject's face during a moment of recognition. But the expressive effects are completely different. In Phantom Lady, Kansas comes up with a new plan in a flash, and the dolly zips from medium long shot to close-up in less than three seconds. The vigorous dolly-in expresses not just what it feels like to have an idea, but also what it feels like to have such an idea in the middle of a bustling modern city.
12018-11-02T20:08:03+00:00Introduction2Eight clipsplain2018-11-02T20:29:42+00:00The introduction outlines the book's approach, grounded in context-specific interpretation. A comparison of two shots in Phantom Lady (1944) and Mrs. Miniver (1942) shows that filmmakers could deploy the same shared strategy to very different effects. The remainder of the chapter uses Sunset Boulevard (1950) to illustrates five types of movement: pans, tilts, dollies, cranes, and zooms.