By William Darby
Masters of Lens and lightweight deals filmographies for greater than 700 American and global cinematographers from 1915 via 1990. those figures variety from the well known (Gregg Toland) to the efficient if imprecise (Ernest Miller). There are nearly thirty pictures, as will as an in depth checklist of extraordinary American and international movies by means of cinematographers whose outputs weren't huge or major sufficient to warrant separate entries.
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Extra resources for Masters of lens and light: a checklist of major cinematographers and their feature films
Under Fire 1983 Orion Vice Squad 1982 AE White Water Summer 1987 Col. Who Is Killing the Great Chefs of Europe? R. Aldo (1902-1953) Heaven Over the Marshes 1949 It. Selz. Miracle in Milan 1951 It. Otello 1951 It. WB Singing Taxi Driver 1953 It. La Terra Trema 1948 It. WB Tomorrow is Another Day 1951 It. 8 Henri Alekan (1909- ) Accursed 1947 Fr. Page 6 Les Amants de Verone 1948 Fr. /Yugo. La Bataille du Rail 1945 Fr. The Beautiful Prisoner 1983 Fr. Beauty and the Beast 1946 Fr. /Isr. Col. Black Tights 1962 Fr.
Prime Risk 1985 US Prison 1988 US Re-Animator 1985 US Robot Jox 1990 US The Seduction 1982 AE A Time in the Sun 1970 Swed. Young Warriors 1983 Cannon Zone Troopers 1986 US 6 John Alcott (1931-1986) Barry Lyndon 1975 GBWB The Beastmaster 1982 MGM-UA A Clockwork Orange 1971 GBWB Disappearance 1977 GB/Can. Fort Apache: The Bronx 1980 US Greystoke: The Legend of Tarzan 1984 GBWB Little Malcolm 1974 GB March or Die 1977 GB Miracles 1987 Cannon/Orion No Way Out 1987 Orion Overlord 1975 GB The Shining 1980 GBWB Terror Train* 1980 Can.
Indeed, many newer films stylistically resemble television shows in their excessive use of close-ups which create feelings of claustrophobia much at odds with the more spacious, artistic, and relaxed compositions of the past. Paradoxically, if the modern cinematographer commands a much greater technical repertoire than his predecessors, all too often this enhanced capacity is dissipated on rudimentary visual designs. A major source of critical debate among practicing cinematographers has always been the subject of light and how it should be employed.