The Dynamic Frame: Camera Movement in Classical Hollywood

2.13 Angels with Dirty Faces

For 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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