French Impressionist Cinema: Film Culture, Film Theory, and Film Style (December 1974)

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274 depict the glancing viewpoint of the Sheriff. 4. Camera movement. a. Movement independent of the subject. In L'Homme du Large, for instance, our knowledge is delayed by a shot of a woman looking off to the right which pans right to the clock upon which her attention is fixed. In Le Brasier Ardent, camera movement underlines the climax of the scene of the detective's farewell: the camera tracks in to the wife who loves him and the shot goes out of focus, L' Auberge Rouge contains a remarkable circular tracking shot around a dinner table, bringing the diners one by one into prominence; the continuous movement reveals a spatial unity that editing would have fragmented. Movement for purely graphic effects. One crucial example of this technique occurs in the final sequence of Paris Qui Dort, where camera movement independent of subject becomes the prea d of comic visions of speed. After the scientist's niece starts the world going again, the following sequence of moving camera shots follows: