The Dynamic Frame: Camera Movement in Classical Hollywood Main Menu

Chapter Five: Additional Clips

1 Chapter Six: An Art of Disclosures Chapter on long takes and the widescreen cinema of the 1950s
This page includes links to 30 clips that are described, but not illustrated, in Chapter Five. For all the illustrated clips, go to Chapter Five. 

This page has paths:

  1. Chapter Five: Between Subjective and Objective Patrick Keating

Contents of this path:

  1. 5.x1 Rebecca
  2. 5.x2 Hangover Square
  3. 5.x3 Somewhere in the Night
  4. 5.x4 Lady in the Lake
  5. 5.x5 Lady in the Lake
  6. 5.x6 High Wall
  7. 5.x7 Possessed
  8. 5.x8 Arch of Triumph
  9. 5.x9 Sleep, My Love
  10. 5.x10 Dark Passage
  11. 5.x11 Dark Passage
  12. 5.x12 The Big Sleep
  13. 5.x13 To Have and Have Not
  14. 5.x14 Madame Bovary
  15. 5.x15 Where the Sidewalk Ends
  16. 5.x16 The Reckless Moment
  17. 5.x17 The Battle of Midway
  18. 5.x18 The Fighting Lady
  19. 5.x19 Air Force
  20. 5.x20 Destination Tokyo
  21. 5.x21 The Battle of San Pietro
  22. 5.x22 A Walk in the Sun
  23. 5.x23 The House on 92nd Street
  24. 5.x24 Berlin Express
  25. 5.x25 Night Has a Thousand Eyes (1948)
  26. 5.x26 The Marrying Kind
  27. 5.x27 D.O.A.
  28. 5.x28 The Captive City
  29. 5.x29 The Window
  30. 5.x30 Body and Soul