Mise en scène:
Camera movement changes the way we see the pro-filmic space. It draws attention to the fact that a camera is present. But because we are attuned to the structural codes of film, this awareness of the camera can add an indexical quality to the scene: The camera is there, something real happened.
Movement can split our attention between what is ‘in the picture’ and how the camera transforms what we see. This clip and the next from La Grande Illusion (1937), directed by Jean Renoir, use camera movement to extend the frame and survey the emotions of others around the room.