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Hollywood Lighting From The Silent Era To Film Noir

Author: Patrick Keating
Publisher: Columbia University Press
ISBN: 0231520204
Size: 10.18 MB
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Lighting performs essential functions in Hollywood films, enhancing the glamour, clarifying the action, and intensifying the mood. Examining every facet of this understated art form, from the glowing backlights of the silent period to the shaded alleys of film noir, Patrick Keating affirms the role of Hollywood lighting as a distinct, compositional force. Closely analyzing Girl Shy (1924), Anna Karenina (1935), Only Angels Have Wings (1939), and T-Men (1947), along with other brilliant classics, Keating describes the unique problems posed by these films and the innovative ways cinematographers handled the challenge. Once dismissed as crank-turning laborers, these early cinematographers became skillful professional artists by carefully balancing the competing demands of story, studio, and star. Enhanced by more than one hundred illustrations, this volume counters the notion that style took a backseat to storytelling in Hollywood film, proving that the lighting practices of the studio era were anything but neutral, uniform, and invisible. Cinematographers were masters of multifunctionality and negotiation, honing their craft to achieve not only realistic fantasy but also pictorial artistry.

Hollywood 1938

Author: Catherine Jurca
Publisher: Univ of California Press
ISBN: 0520951964
Size: 77.38 MB
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In Hollywood 1938, Catherine Jurca brings to light a tumultuous year of crisis that has been neglected in histories of the studio era. With attendance in decline, negative publicity about stars that were "poison at the box office," and a spate of bad films, industry executives decided that the public was fed up with the movies. Jurca describes their desperate attempt to win back audiences by launching Motion Pictures’ Greatest Year, a massive, and unsuccessful, public relations campaign conducted in theaters and newspapers across North America. Drawing on the records of studio personnel, independent exhibitors, moviegoers, and the motion pictures themselves, she analyzes what was wrong—and right—with Hollywood at the end of a heralded decade, and how the industry’s troubles changed the making and marketing of films in 1938 and beyond.


Publisher: Macmillan
ISBN: 1844572390
Size: 77.90 MB
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In classic noir style, Detour features mysterious deaths, changes of identity, an unforgettable femme fatale called Vera (Ann Savage), and, in Roberts, a wretched, masochistic antihero.".

Early American Cinema In Transition

Author: Charlie Keil
Publisher: University of Wisconsin Pres
ISBN: 0299173631
Size: 65.83 MB
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The period 1907–1913 marks a crucial transitional moment in American cinema. As moving picture shows changed from mere novelty to an increasingly popular entertainment, fledgling studios responded with longer running times and more complex storytelling. A growing trade press and changing production procedures also influenced filmmaking. In Early American Cinema in Transition, Charlie Keil looks at a broad cross-section of fiction films to examine the formal changes in cinema of this period and the ways that filmmakers developed narrative techniques to suit the fifteen-minute, one-reel format. Keil outlines the kinds of narratives that proved most suitable for a single reel’s duration, the particular demands that time and space exerted on this early form of film narration, and the ways filmmakers employed the unique features of a primarily visual medium to craft stories that would appeal to an audience numbering in the millions. He underscores his analysis with a detailed look at six films: The Boy Detective; The Forgotten Watch; Rose O’Salem-Town; Cupid’s Monkey Wrench; Belle Boyd, A Confederate Spy; and Suspense.

Film Studies

Author: Ed Sikov
Publisher: Columbia University Press
ISBN: 9780231142939
Size: 48.60 MB
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Ed Sikov builds a step-by-step curriculum for the appreciation of all types of narrative cinema, detailing the essential elements of film form and systematically training the spectator to be an active reader and critic. Sikov primes the eye and mind in the special techniques of film analysis. His description of mise-en-scene helps readers grasp the significance of montage, which in turn reveals the importance of a director's use of camera movement. He treats a number of fundamental factors in filmmaking, including editing, composition, lighting, the use of color and sound, and narrative. Film Studies works with any screening list and can be used within courses on film history, film theory, or popular culture. Straightforward explanations of core critical concepts, practical advice, and suggested assignments on particular technical, visual, and aesthetic aspects further anchor the reader's understanding of the formal language and anatomy of film.

A Hidden History Of Film Style

Author: Christopher Beach
Publisher: Univ of California Press
ISBN: 0520284356
Size: 63.22 MB
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The image that appears on the movie screen is the direct and tangible result of the joint efforts of the director and the cinematographer. A Hidden History of Film Style is the first study to focus on the collaborations between directors and cinematographers, a partnership that has played a crucial role in American cinema since the early years of the silent era. Christopher Beach argues that an understanding of the complex director-cinematographer collaboration offers an important model that challenges the pervasive conventional concept of director as auteur. Drawing upon oral histories, early industry trade journals, and other primary materials, Beach examines key innovations like deep focus, color, and digital cinematography, and in doing so produces an exceptionally clear history of the craft. Through analysis of several key collaborations in American cinema from the silent era to the late twentieth century—such as those of D. W. Griffith and Billy Bitzer, William Wyler and Gregg Toland, and Alfred Hitchcock and Robert Burks—this pivotal book underlines the importance of cinematographers to both the development of cinematic technique and the expression of visual style in film.

Snow White And The Seven Dwarfs

Author: Eric Smoodin
Publisher: British Film Institute
ISBN: 9781844574759
Size: 55.54 MB
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In 1937, when Walt Disney released Snow White and the Seven Dwarfs, the film became an immediate, international sensation. Years earlier, when Disney decided to produce Snow White, his first animated feature-length film, even he couldn't have imagined the hundreds of artists required, the cost involved, or the necessary technological innovations. But all of this effort resulted in a film experience like no other. Fans marvelled at the lush colour palette, the seemingly three-dimensional space, the operatic dependence on songs to tell the story, and the compelling characterisations. Snow White appealed to low and highbrow alike, from the teenagers who invented 'The Dopey Dance' to many of the great museums of the US, which proudly collected celluloid images from the film. Disney's Technicolor cartoon bridged apparent gaps between city and town, between age groups, between classes. Critics celebrated it as an instant classic. Snow White and the Seven Dwarfs now stands as one of the most important of all Hollywood films, and its influence on movies – by Orson Welles, Michael Powell, and many others – extends to the present day. Based on extensive research in materials from the period of the film's production and distribution, Eric Smoodin's study presents a careful history of the events that led up to Snow White, the trajectory of Disney's career that made this extraordinary project a logical next step, the reception of the film in the US and around the world, and its impact on so many aspects of contemporary culture. This special edition of Snow White and the Seven Dwarfs is published to celebrate the 20th anniversary of the BFI Film Classics series.

The Dynamic Frame

Author: Patrick Keating
Publisher: Columbia University Press
ISBN: 0231548958
Size: 63.91 MB
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The camera’s movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures like F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.