The Moment of Recognition
This audiovisual essay is the fourth that I have produced on the subject of camera movement in studio-era Hollywood. All four serve as companion pieces to my book The Dynamic Frame: Camera Movement in Classical Hollywood. This fourth video focuses on a technique that I call the “recognition” shot, wherein the camera dollies toward a character who is experiencing a moment of realization. I start by asking why a single shot from Phantom Lady (Siodmak, 1944) seems so lively. This question leads to a consideration of the film’s status as a “working-girl investigator” film (to borrow a term from Helen Hanson) and then to an extended comparison with Sorry, Wrong Number (Litvak, 1948), where a similar technique is deployed to very different effect.
 See Patrick Keating, “A Homeless Ghost: The Moving Camera and Its Analogies,” [in]Transition: A Journal of Videographic Film & Moving Image Studies 2, no. 4 (2016), http://mediacommons.org/intransition/2015/12/29/homeless-ghost; Patrick Keating, “Motifs of Movement and Modernity,” Movie: A Journal of Film Criticism 7 (2017), http://www2.warwick.ac.uk/fac/arts/film/movie; PDF: https://warwick.ac.uk/fac/arts/scapvc/film/movie/contents/keating._motifs_of_modernity.pdf; and Patrick Keating, “The Strange Streets of a Strange City: The Ambersons Montage,” NECSUS: European Journal of Media Studies (Spring 2018), https://necsus-ejms.org/the-strange-streets-of-a-strange-city-the-ambersons-montage.
 Helen Hanson, Hollywood Heroines: Women in Film Noir and the Female Gothic Film (London: I. B. Tauris, 2007), 25.