By Patrick Keating

ISBN-10: 081356350X

ISBN-13: 9780813563503

How does a movie come to seem how it does? And what effect does the glance of a movie have on our response to it? The function of cinematography, as either a technology and an paintings, is usually forgotten within the chatter approximately appearing, directing, and budgets. The winning cinematographer should have a prepared artistic eye, in addition to specialist wisdom concerning the regularly increasing array of latest digicam, movie, and lighting fixtures applied sciences. with no those abilities at a director’s disposal, such a lot video clips fast fade from reminiscence. Cinematography specializes in the highlights of this artwork and gives the 1st accomplished assessment of ways the sphere has quickly advanced, from the early silent movie period to the electronic imagery of today.

The essays during this quantity introduce us to the visible conventions of the Hollywood variety, explaining how those first arose and the way they've got as a consequence been challenged by means of replacement aesthetics. with a view to body this interesting historical past, the individuals hire a sequence of questions on expertise (how did new know-how form cinematography?), authorship (can a cinematographer increase types and subject matters over the process a career?), and classicism (how may still cinematographers use new know-how in gentle of previous practice?). Taking us from the hand-cranked cameras of the silent period to the electronic units used this day, the gathering of unique essays explores how the artwork of cinematography has been encouraged not just by means of technological advances, but additionally via traits within the motion picture undefined, from the increase of big-budget blockbusters to the unfold of indie films.

The ebook additionally unearths the folks in the back of the digicam, profiling a variety of acclaimed cinematographers from James Wong Howe to Roger Deakins. Lavishly illustrated with over 50 indelible photos from landmark movies, Cinematography bargains a provocative behind-the-scenes examine the career and a stirring party of the paintings shape. an individual who reads this heritage will come away with a clean eye for what seems to be at the monitor as a result of what occurs at the back of it.

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With the conversion to sound, cinematographers had an additional reason to favor the incandescent, since arc lamps initially produced an unacceptable level of noise, and the “inkie” became the cinematographer’s dominant lamp throughout the next decade. While adopting the tools of electric lighting, cinematographers had developed a diverse set of visual strategies to satisfy both narrative and aesthetic goals and still meet the standards of efficiency that an industrial system required. Yet the cinema of attractions has by no means disappeared, as both Ingram’s pictorialism and Pickford’s portraits were both attractions in their own right.

Crisis and Stability in the Profession On the one hand [cinema] has reached a state of great mechanical perfection, but on the other hand, its artistic growth has been arrested in the past year; and on every side we see irrefutable evidence that the art of the camera, upon which all screen art is based, is in danger of being overlooked and becoming stagnant and buried beneath a great maze of ohms, watts, amps, and thoughtlessness. ”6 The change to sound cinema, Crafton demonstrates, was neither a sudden event nor a complete rupture from the past.

P. p. p. George Folsey), a Paramount theatrical adaptation that synthesized late-silent motion picture style and talking-picture aesthetics. The opening scene introduces the city of Singapore in three long shots, each of which uses mid-to-low key lighting and strong high-angle spotlights with arc lights. The effect is an atmospheric composition in which actors walk in and out of illumination. These are followed by two extravagant crane-tracks toward the plantation house, also shot silent. However, once the interior scenes begin, the tonal approach is much more high-key.

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Cinematography by Patrick Keating


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