About a third of the way through Jackie Brown, Tarantino has a long take of nearly a minute. The camera is focused on Samuel L. Jackson getting into a car and then follows Jackson while he drives off. The camera then rises and we see Jackson pull into an adjacent parking lot. It is an interesting shot because the camera is so mobile. Just my two cents.
From: Film and TV Studies Discussion List on behalf of Nancy Mockros
Sent: Sun 3/14/2004 6:35 PM
To: [log in to unmask]
Subject: my take on realist long takes
I might add to the others that some of the shots in Vittorio DiSica's Ladri
de biciclette (The Bicycle Thief)
and some of Louis Malle's shots (in Au Revoir Les Enfants and Le Souffle au
Coeur - for example) could be classified as realist long takes. But my
theory is that such classifications are a question of degrees - there seems
to be a dotted line between the realist-formalist perspectives, perhaps
even moreso today, especially in the Dogme movement. ? I'm open to debate.
Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: http://www.tcf.ua.edu
Online resources for film/TV studies may be found at ScreenSite