But if the director has an unusually
beautiful and imposing setting which he wishes to show off, the moving
truck, with the constantly turning camera, gives him exactly what he
wants to show. Close-ups of this type may be likened to the more
frequently used panoramic scenes--"panorams"--obtained in open-air
work by mounting the camera on a train, an automobile, or some other
moving vehicle. Another point is that the ordinary close-up, produced
as first described, is the one most used because it does away with the
footage consumed in the gradual-approach method.
Suppose, now (following up the previous example of the use of the
bust), that having shown Maud's hand holding up the broken-off point
of what she believes to be her brother's knife, we go back to the
wide-angle view of the room and show the two sisters together, and
Maud casting the knife-point from her in horror. Let us imagine that
they are supposed to suspect some other character--their brother, in
fact--of having used the knife of which this is a part, to commit some
crime. This character now comes into the room. We want to register
certain expressions and, what is equally important, we want to isolate
one character's expression from that of another, so that the eye and
mind of the spectator will not be confused by the wide range of vision
employed in the full--or wide-angle--scene.
Pages:
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192