The Dynamic Frame: Camera Movement in Classical Hollywood Main Menu

Chapter Two: Purposes and Parallels

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Although the transition to sound posed some obstacles for camera movement, Hollywood solved the relevant technological problems relatively quickly, incorporating several newly designed dollies and cranes. The bigger challenge was figuring out when to move the camera and why. Some filmmakers appealed to means-end thinking, proposing various functions that the moving camera might serve. Others appealed to analogical thinking, arguing that the camera's movements should be modeled on those a person might perform. Parallels served purposes. By arguing that the camera should (or should not) move like a person, the practitioner-theorist established assumptions about what the camera could (or could not) do. This page includes links for all of the chapter's illustrated clips. For clips that are mentioned in the chapter, but not illustrated, see the "Additional Clips" page. 

This page has paths:

  1. The Dynamic Frame Patrick Keating

Contents of this path:

  1. 2.2 Broadway
  2. 2.5 Applause
  3. 2.6 Dr. Jekyll and Mr. Hyde
  4. 2.7 Design for Living
  5. 2.8 Cleopatra
  6. 2.9 A Farewell to Arms
  7. 2.10 Bringing Up Baby
  8. 2.11 42nd Street
  9. 2.12 Wee Willie Winkie
  10. 2.13 Angels with Dirty Faces
  11. 2.14 You Only Live Once
  12. 2.15 The Barretts of Wimpole Street
  13. 2.16 The Front Page
  14. 2.17 His Girl Friday
  15. Chapter Two: Additional Clips