12019-01-27T20:12:05+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Angels with Dirty Faces (1938)plain2019-01-27T20:12:05+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bFor much of the scene, the framing is highly informative. Whether mobile or stationary, the camera always seems to be in the right place at the right time. Then the strategy shifts—away from the all-seeing eye. When Rocky murders Mac, the camera whip-pans to the right, dollying in toward a nearby mirror. Is this really the “best” view of the action—the view that an allegedly omniscient observer might provide? The filmmakers have sacrificed clarity in exchange for visual intensity.
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12019-01-25T22:37:11+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Two: Purposes and ParallelsPatrick Keating6This chapter covers the years after the transition to sound.plain832019-01-28T02:06:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-25T22:49:05+00:002.13 Angels with Dirty Faces1Angels with Dirty Faces (1938)plain2019-01-25T22:49:05+00:00Critical Commons19382019-01-24T22:45:47ZVideoMichael CurtizAngels with Dirty Faces