12019-01-27T21:40:27+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11For Me and My Gal (1942)plain2019-01-27T21:40:27+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe camera starts relatively low, at Jimmy’s eye level when he is seated; in imperceptible stages, it booms upward over the course of the scene, ending between the actors’ eye levels when they are standing. The focus is deep enough to carry both actors when photographed in medium long shot but shallow enough to create separation between the foreground and background when the actors appear in medium close-up. Compare this scene to 4.x6, which represents a similar narrative situation.
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12019-01-27T21:22:13+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Four: Constructing Scenes with the CameraPatrick Keating3Chapter analyzing three distinct methods of scene construction in Hollywood during the 1940splain1392019-01-28T02:08:29+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T21:16:06+00:004.9 For Me and My Gal1For Me and My Gal (1942)plain2019-01-27T21:16:06+00:00Critical Commons19422019-01-25T21:10:17ZVideoBusby BerkeleyFor Me and My Gal