A lot of ink's been spilled about the extent to which movies in the mid-to-late-Fifties tried to outdo the
boob -
tube with grand Technicolor visions; comparatively little has been written about Zapruder's 486 colour frames, which stole the thunder of television's hold on vérité — remember, in 1960, Hitch wanted to shoot Psycho in a televisual
style for its implicit realism — as elegantly as a shell fired from a mail - order Carcano.