Here’s the shot in Alfred Hitchcock’s Marnie which I reference in my Criterion essay on Martin Scorsese’s After Hours.
There’s also a moment where Paul (Griffin Dunne) is running down the street holding a crumpled note in his hand. Scorsese keeps the camera on his hand. Dissociating Paul. Atomizing him. In Marnie, there’s the terrible nearly unwatchable moment where she is forced to kill her horse after a jump gone bad. She walks towards her horse, holding a gun, and Hitchcock keeps the camera solely on the gun, as “it moves” towards the horse, almost by its own power. I read an interview with Scorsese during my research for the essay where he said he blatantly stole that shot from Marnie.
