12019-01-27T22:10:38+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b12The Lodger (1944)plain2019-01-27T22:12:18+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bFor the first murder scene, the camerawork seems unambiguously objective, dollying alongside Katie before craning away as she steps behind a wall. Compare to the subjective technique in 5.7.
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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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12019-01-27T21:58:04+00:005.6 The Lodger1The Lodger (1944)plain2019-01-27T21:58:04+00:00Critical Commons19442019-01-26T00:55:41ZVideoJohn BrahmThe Lodger