Armato, Casablanca

In Casablanca, our protagonist (Rick) attempts to take no stance on the developing war, preferring instead to stay neutral for what he claims are business purposes. Makes sense. If he were to take a side, people of the opposite faction might stop going to his bar.

As an American living in Casablanca, he adopts his home country's attitude toward the war. This seems like an odd trait for an expatriate. Normally those who expatriate in war times do so because they believe their country shouldn't be involved in a war that it is involved in or the other way around. Either way, the individual disagrees with his government, so he finds a place that is governed more to his liking. In Casablanca, Rick's atitude towards the war is hardly distinguishable from the U.S.'s.

In the shot pictured above, we've flashed back to Rick's and Ilsa's affair in Paris. This flashback explains what, if not politics and war, is at the forefront of Rick's mind: Ilsa.

Dominant: The dominant is the front of Humphrey Bogart's face
Lighting Key: The lighting is pretty low, but almost evenly balanced. What I mean by that is there are even amounts of bright areas and dark areas in this shot. Balanced, like Rick's politics.
Camera Proxemics: Intimate
Angle: Straight on
Density: Pretty dense, there is hardly empty space in the shot. The screen is almost entirely taken up by Bogart and Bergman's faces.
Form: Closed
Framing: Tight
Character Placement: Bergman takes up the right of the screen, Bogart the left, and if we consider the pair a single object, we could say they are placed in the center.
Character Proxemics: Intimate. They are clearly about to exchange a kiss.