The Dynamic Frame: Camera Movement in Classical Hollywood

2.5 Applause

Director Rouben Mamoulian favored heavy-handed symbolism. The shadow tells us that Hitch is evil; Kitty’s placement in the corner evokes her powerlessness. The film could have cut to this composition, but the dolly-in announces the framing as a deliberate choice. Knowing that the camera could be rolled back a few feet reinforces our awareness that the storyteller has chosen not to do so.

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