The Dynamic Frame: Camera Movement in Classical Hollywood

4.4 Rebecca

A Capra or a Stevens might have filmed this scene from stationary angles, enabling the editor to select from a range of singles, two-shots, and three-shots. (See 4.3 for an example of such an approach.) Hitchcock’s version also features a range of groupings, but two traits are worth noting. First, most of the angles are unique, covering one portion of action and never used again. Second, several of the shots feature camera movement, not just for minor reframes, but for major regroupings, turning three-shots into two-shots or two-shots into singles.

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