12019-01-28T00:39:08+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b11Sorry, Wrong Number (1948)plain2019-01-28T00:39:08+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bAn extreme wide-angle lens allows the camera to approach within a few inches of Barbara Stanwyck’s face, resulting in a grotesque close-up of the star. The insistent tightness of the frame expresses a sense of increasing entrapment; the too-close positioning of the camera expresses a corresponding sense of impending violence. Compare to Intro.1 from Phantom Lady and Intro.2 from Mrs. Miniver.
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12019-01-28T00:32:11+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Six: An Art of DisclosuresPatrick Keating3Chapter on long takes and the widescreen cinema of the 1950splain1992019-01-28T02:10:25+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-27T22:00:09+00:006.4 Sorry, Wrong Number1Sorry, Wrong Number (1948)plain2019-01-27T22:00:09+00:00Critical Commons19482019-01-27T18:24:53ZVideoAnatole LitvakSorry, Wrong Number