{"id":3030,"date":"2010-07-03T22:46:11","date_gmt":"2010-07-04T05:46:11","guid":{"rendered":"http:\/\/blogs.law.harvard.edu\/yulelog\/?p=3030"},"modified":"2010-07-03T22:46:11","modified_gmt":"2010-07-04T05:46:11","slug":"frames","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/yulelog\/2010\/07\/03\/frames\/","title":{"rendered":"Frames"},"content":{"rendered":"

A couple of nights ago I watched Alfred Hitchcock’s clever and satisfyingly grippping Shadow of a Doubt<\/a> – what a great film! At the risk of sounding like a fogy, I’ll say it anyway: They don’t make ’em like that anymore.<\/em> (Blue Velvet<\/a> was just a happy aberration!)<\/p>\n

\"\"<\/a><\/p>\n

There’s an interesting 4-page analysis\/ synopsis that starts here<\/a>, but it includes spoilers, so it’s perhaps better to save it for after<\/strong> you’ve seen the film.<\/p>\n

As it happened, I had also just watched Anne Lukeman<\/a>‘s video, 22 Frames That Always Work<\/a>, a really well-done extrapolation into the film realm of Wally Wood<\/a>‘s 22 [comic strip] Panels That Always Work<\/a>. Watch this short clip several times: there’s lots to learn and it’s pretty interesting to see how many of the “frames” apply in some ways to Shadow of a Doubt<\/em> and similar films noir. Fascinating, of course, is how within the frame<\/em>, real character develops – provided there’s a Hitchcock behind the camera…<\/p>\n

(Hat-tip to Jordan<\/a> Stratford<\/a>, for the pointer to Lukeman’s video.)<\/p>\n","protected":false},"excerpt":{"rendered":"

A couple of nights ago I watched Alfred Hitchcock’s clever and satisfyingly grippping Shadow of a Doubt – what a great film! At the risk of sounding like a fogy, I’ll say it anyway: They don’t make ’em like that anymore. (Blue Velvet was just a happy aberration!) There’s an interesting 4-page analysis\/ synopsis that […]<\/p>\n","protected":false},"author":311,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1823],"tags":[370],"class_list":["post-3030","post","type-post","status-publish","format-standard","hentry","category-arts-canada","tag-film"],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts\/3030","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/users\/311"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/comments?post=3030"}],"version-history":[{"count":8,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts\/3030\/revisions"}],"predecessor-version":[{"id":3038,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/posts\/3030\/revisions\/3038"}],"wp:attachment":[{"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/media?parent=3030"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/categories?post=3030"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.blogs.harvard.edu\/yulelog\/wp-json\/wp\/v2\/tags?post=3030"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}