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THE FILMIC COMPONENTS log
and the revelation of violent death— is what makes for the dramatic impact. Usually the camera then dollies in to the corpse and holds on a close-up of the blunt instrument, or whatever instrument of death has been used, or on some other significant detail necessary to the development of the plot. This method of capping one dramatic impact (the pan revelation) with still another (the close-up particularization) can have an exceedingly dramatic effect on the audience. Here again the device should be used only sparingly, so as not to weaken its effectiveness.
It is with the pan revelation device that the screen-play writer can assure himself that his camera direction will be followed by the director. No director would dare to discard a fresh approach to the device, for he would realize that, to the average audience, he, and not the writer, would be accredited with its creation. The pan revelation, like the pay-off pan, is another means by which the writer can assert himself creatively.
Pay-off pan. Another type of revelatory pan begins with the camera panning with a person without holding on him completely. Instead, it holds momentarily on some significant detail and permits the person being panned to walk out of the frame, centering the new item of interest for dramatic particularization. To cap this impact, immediately after holding on the new item, the camera often dollies in for a close shot, or a close-up, of what has interrupted the pan. The effect here is of endowing the camera with the human trait of curiosity. And when that curiosity results in a dramatic pay-off, the impact is made even more effective.
A splendid example of this was found in Miracle on 34th Street where, after the lawyer has proved in court that Santa Claus does not exist, the audience discovers, by means of a pan, the old gentleman's cane standing in a corner of the room.
Medium to close pan. The pan shot is also an excellent device for taking the audience from the general to the particular, and for connecting the two. Thus the camera can hold on one action in the medium shot, and wind up holding on a close-up of, say, a letter lying on a desk. This method avoids the dollying in, which is a time-consuming device as far as production is concerned.