Film Grammar

Furthermore, screenwriting involves more than mere dialogue and plot. The choice between a cut and a camera movement or a close-up and a long shot, for example, may quite often transcend the plot. If the story of Little Red Riding Hood is told with the Wolf in close-up and Little Red Riding Hood in long shot, the director is concerned primarily with the emotional problems of a wolf with a compulsion to eat little girls. If Little Red Riding Hood is in close-up and the Wolf in long shot, the emphasis is shifted to the emotional problems of vestigial virginity in a wicked world. (To cut back and forth between the two characters is to emphasize their conflict; to enclose them within a circular camera movement is to emphasize their complicity.)

Directors, How Personal Can You Get?, Andrew Sarris
Confessions of a Cultist: On the Cinema, 1955-1969