12019-01-27T22:08:05+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Lady in the Lake (1947)plain2019-01-27T22:08:05+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe camera, sometimes mounted on a tripod and sometimes handheld, represents Marlowe’s point-of-view as he interrogates a suspect who turns violent. For skeptics, the resulting scenes feel amusing rather than immersive.
This page has paths:
12019-01-27T21:53:13+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Five: Between Subjective and ObjectivePatrick Keating3Chapter on four trends in postwar filmmakingplain1832019-01-28T02:09:30+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
This page references:
12019-01-27T21:57:44+00:005.4 Lady in the Lake1Lady in the Lake (1947)plain2019-01-27T21:57:44+00:00Critical Commons19472019-01-26T00:40:05ZVideoRobert MontgomeryLady in the Lake