The Dynamic Frame: Camera Movement in Classical Hollywood Main Menu

Chapter Three: Additional Clips

1 Chapter Four: Constructing Scenes with the Camera Chapter analyzing three distinct methods of scene construction in Hollywood during the 1940s
This page includes links to 43 clips that are described, but not illustrated, in Chapter Three. For all the illustrated clips, go to Chapter Three. 

This page has paths:

  1. Chapter Three: Dynamism, Seriality, and Convergence Patrick Keating

Contents of this path:

  1. 3.x1 Stagecoach
  2. 3.x2 Hallelujah, I'm a Bum
  3. 3.x3 Lady in the Dark
  4. 3.x4 The Man with the Golden Arm
  5. 3.x5 Bells Are Ringing
  6. 3.x6 History Is Made at Night
  7. 3.x7 Modern Times
  8. 3.x8 Murder, My Sweet
  9. 3.x9 Entr'acte
  10. 3.x10 Manhattan Cocktail
  11. 3.x11 Modern Times
  12. 3.x12 The Big House
  13. 3.x13 The Easiest Way
  14. 3.x14 If I Had a Million
  15. 3.x15 Baby Face
  16. 3.x16 The Women
  17. 3.x17 Dames
  18. 3.x18 Transatlantic
  19. 3.x19 Union Depot
  20. 3.x20 The Crusades
  21. 3.x21 Algiers
  22. 3.x22 Footlight Parade
  23. 3.x23 Love Me Tonight
  24. 3.x24 Gone with the Wind
  25. 3.x25 Show Boat
  26. 3.x26 Two Seconds
  27. 3.x27 Sunnyside Up
  28. 3.x28 Street Scene
  29. 3.x29 Frisco Jenny
  30. 3.x30 Our Daily Bread
  31. 3.x31 American Madness
  32. 3.x32 American Madness
  33. 3.x33 Prosperity
  34. 3.x34 Prosperity
  35. 3.x35 Sweepings
  36. 3.x36 Employees' Entrance
  37. 3.x37 Looking Forward
  38. 3.x38 Looking Forward
  39. 3.x39 You and Me
  40. 3.x40 Bataan
  41. 3.x41 Guadalcanal Diary
  42. 3.x42 The Seventh Cross
  43. 3.x43 The Human Comedy