By Wheeler Winston Dixon

ISBN-10: 0813572428

ISBN-13: 9780813572420

From the sleek monochrome of the vintage Hollywood romance, to the gritty greyscale of the gangster photo, to movie noir’s moody interaction of sunshine and shadow, black-and-white cinematography has been used to create a remarkably large choice of tones. but at the present time, with black-and-white movie inventory approximately most unlikely to discover, those cinematographic strategies are nearly extinct, and filmgoers’ appreciation of them is in a similar way waning.  
 
Black and White Cinema is the 1st examine to contemplate using black-and-white as an artwork shape in its personal correct, offering a entire and worldwide evaluation of the period while it flourished, from the 1900s to the Nineteen Sixties. Acclaimed movie student Wheeler Winston Dixon introduces us to the masters of this paintings, discussing the signature types and technical thoughts of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist. Giving us a distinct glimpse backstage, Dixon additionally unearths the inventive teams—from lights technicians to matte painters—whose paintings profoundly formed the glance of black-and-white cinema.  
 
greater than only a research of movie historical past, this booklet is a rallying cry, intended to encourage a love for the artistry of black-and-white movie, in order that we'd paintings to maintain this significant a part of our cinematic historical past. Lavishly illustrated with greater than 40 on-the-set stills, Black and White Cinema provides a vibrant and illuminating examine a creatively very important era.
 

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Additional info for Black and White Cinema: A Short History

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In the interiors, there are lamps in one part of the frame or, in some instances, statues in the foreground. The foreground objects are cut off by the frame on one side, leaving the rest of the foreground open for the main action, enhancing the impression of depth and perspective.  W. Murnau’s classic vampire film Nosferatu (1922), photographed by Fritz Arno Wagner and an uncredited Günther Krampf 40 H Black & White Cinema actors’ performances, but also because of the magisterial camerawork of Struss and Rosher, who make the narrative seem authentic, immediate, and emotionally accessible to the audience.

In fact, Rosher’s long association with Pickford was due in no small measure to his care in lighting Pickford within the shot, essentially employing one strategy for photographing each scene as a whole and yet another for lighting Pickford within it. As Katherine Lipke reported, “This created a depth not accomplished in any other picture.  .  . makes her personality fairly radiate beauty” (Los Angeles Times, January 21, 1925).  W. Murnau’s Sunrise (1927), an award he shared with Karl Struss, who shot the film with him.

As strange as it may sound, awards for cinematography did not exist at that time and, stranger yet, they barely exist today. Cannes, Berlin, Venice and all the other major film festivals of the world have no awards for cinematography. They do have awards Origins H 39 for supporting actors and supporting actresses, for writers and directors, and for a lot of other things, but the cinematographer’s work is often disregarded. Murnau belonged to the school of German Expressionism, perhaps most evident in his direction of the classic vampire film Nosferatu (1922), photographed by Fritz Arno Wagner and an uncredited Günther Krampf.

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Black and White Cinema: A Short History by Wheeler Winston Dixon


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