The Dynamic Frame: Camera Movement in Classical Hollywood

5.9 The Killers

The film initially seems to be proposing a close comparison between the reporter’s prose and the camera’s positioning—both favor facts over feelings. But the analogy proves to be unsustainable. The longer the two-minute take stretches on, the more it seems like the voiceover and the cinematography offer two incommensurate ways of representing an event, each shaped by its own potentials and limitations.

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