The Dynamic Frame: Camera Movement in Classical Hollywood

6.9 Rope

Hitchcock claimed that he designed the long takes of Rope to follow the familiar logic of scene construction, moving from wide shots to close-ups and back again. However, it is important to recognize that the experience of watching the eight-minute take is somewhat different. Rope’s compositions do not simply progress from cut to cut; they change before our eyes. For instance, when the camera sweeps past Brandon to Philip to Rupert, we may expect the camera to rest on someone but we cannot know who that someone will be.

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