Compare the kinetic richness within the staged choreography of dance sequences and action scenes

Please provide the best answer for the statement.

The Moving Camera
a. background
i. before the 1920s, filmmakers tended to confine camera movements to the subject photographed
ii. in the 1920s, such German filmmakers as F. W. Murnau and E. A. Dupont moved the camera within the shot not only for physical reasons but for psychological and thematic reasons
iii. a major problem of the moving camera involves time
iv. films that use this technique extensively tend to seem slow-moving since moving in or out of a scene is more time consuming than a straight cut
v. a director must decide whether moving the camera is worth the film time involved
vi. and whether the movement warrants the additional technical and budgetary complications
b. There are seven basic moving camera shots: pan; tilt, dolly, handheld, crane, zoom, and aerial shots
i. panning
1. scan a scene horizontally from a stationary point
2. most common use is to keep the subject within frame
3. swish pan used for transitions
4. emphasize unity of space and connectedness of people and objects
ii. tilting
1. vertical movements of the camera around a stationary horizontal axis
2. used to keep subjects within frame, to emphasize spatial and psychological interrelationships, to suggest simultaneity, and to emphasize cause–effect relationships
3. Since a tilt is a change in angle, it is often used to suggest a psychological shift within a character
iii. dollying
1. sometimes called trucking or tracking shots
2. taken from a moving vehicle (dolly)
3. useful technique in point-of-view shots for capturing a sense of movement in or out of a scene
4. moving the camera enhances three-dimensional space: It seems to put the spectator into the space
5. if the experience of the movement itself is important, the director
is more likely to dolly; otherwise will use a cut
6. a common function of traveling shots is to provide an ironic contrast with dialogue
7. one of the most common uses of dolly shots is to emphasize psychological rather than literal revelations
iv. handheld
1. generally less lyrical, more noticeable than vehicular shots
2. usually mounted with a harness on the cinematographer’s shoulder
3. originally used by documentarists to permit them to shoot in nearly every kind of location
v. crane
1. essentially airborne dolly shots
2. employ a kind of mechanical arm, often more than twenty feet in length
3. steadicam often replaces crane shots today
vi. zoom
1. don’t usually involve the actual movement of the camera
2. a combination of lenses, which are continuously variable, permitting the camera to change from close wide-angle distances to extreme telephoto positions (and vice versa. almost simultaneously
3. can zip in or out of a scene much faster than any vehicle
4. they are cheaper than dolly or crane shots since no vehicle is
necessary
5. in crowded locations, zoom lenses can be useful for photographing from long distances, away from the curious eyes of passersby
6. certain psychological differences between zoom shots and those involving an actual moving camera
A. zoom lenses foreshorten people and flatten space
B. edges of the image simply disappear on all sides
C. effect is one of sudden magnification
D. instead of feeling as though we are entering a scene, we feel as though a small portion of it has been thrust toward us
vi. aerial
1. usually taken from a helicopter
2. really variation of the crane shot
3. can be much more extravagant than crane shot
4. for this reason they can occasionally be used to suggest a swooping sense of freedom