12019-01-27T22:14:18+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11The Killers (1946)plain2019-01-27T22:14:18+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bThe 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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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
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12019-01-27T21:58:35+00:005.9 The Killers1The Killers (1946)plain2019-01-27T21:58:35+00:00Critical Commons19462019-01-26T01:08:20ZVideoRobert SiodmakThe Killers