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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.

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