The moving camera is a major factor in the creation of mise-en-scène, because it opens up space, traversing and
Along with the moving camera, another important element of mise-en-scène is the long take. Nowhere is the opposition between shot and cut more apparent than when a filmmaker allows a scene to continue unedited, actors acting, viewers observing. The long take can be used for sheer technical brilliance, as in the over-four-minute take in the Copacabana sequence of Martin Scorsese's GoodFellas (1990), where the camera moves with the characters down the stairs, through the kitchen, and into the club, all kinds of action and dialogue occurring along the way. It can be deadly serious, as in the tracks through the trenches in Kubrick's Paths of Glory (1957) or the extraordinary movement with the jogging astronaut in the centrifugal hall of the spaceship in 2001: A Space Odyssey (1968). Neither of these sequences is especially long, though the track through the trenches is persistent, intercutting shots of Col. Dax's intent face moving through the line of soldiers with his view of them. But these and all moving-camera long takes are marked by intensity and energy—visual signs of their character's purpose and ultimate failure, not to mention their director's creativity.