A Streetcar Named Desire - 1951
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A jerky cut like this would be very rare later in the 1930s, as it is today. As recording technology improved, Hollywood would move back to single-camera shooting for most scenes, and shot scales were more exactly planned and executed.
The Sound of Music Salzburg The Movie
The film’s second “act” starts with a comparable flourish. A long shot of the library shows Carney bustling toward the offscreen front door in the background. The camera tracks in and waits for him to return.
The quintessential subjective films are , and
“We can now offer facilities for the entire sound recording process – from recording on set to overdubbing, mixing and encryption of the final soundtrack. This significantly expands our remit and we believe that the combination of a unique location and state of the art facilities will appeal to Western film producers, encouraging them to move their projects to Moscow at a much earlier stage in the production process.”
In and , as well as , Hitchcock limits himself to a single set.
Moreover, Hitchcock carefully manipulates the soundtrack so that the birds can convey terror even when they are silent or just making an occasional caw or flutter.
They are his least detached, most unsettling and haunting films.
To introduce a bird visually without an attack is to tease the audience with a red herring, and so Hitchcock cannot manipulate the visuals as freely for suspense as he does the soundtrack.