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Delta Kappa Alpha National Honorary Cinema Fraternity Division of Cinema l}NIVERSITY OF SouTHERN CALIFORNIA SCHOOL OF PERFORMING ARTS UNIVERSITY PARK Los ANGELES, CALIFORNIA 90007 DKA H onoraries Lucille Ball Anne Baxter Charles Brackett Joe E. Brown Frank Capra George Cukor John Cromwell Irene Dunne Blake Edwards John Flor,Y Gene Fowler Marjorie Fowler John G. Frayne Arthur Freed Karl Freund William Goetz James Wong Howe John Huston Ub Iwerks "Chuck" Jones Gene Kelly Stanley Kramer Jack Lemmon Harold Lloyd Arthur Miller Boris V. Morkovin Jack Oakie Charles Palmer Gregory Peck William Perlberg Mary Pickford Miklos Rosza Rosalind Russell George Seaton Mark Serrurier Mogen Skot-Hansen Robert Snyder George Stevens Robert Surtees Gloria Swanson Norman Taurog Slavko Vorkapich King Vidor Hal Wallis Jack Warner Wally Westmore Haskel Wexler Billy Wilder Elmo Williams Robert Wise Roy Wolford William W yler Fred Zinnemann Adolph Zukor In Memoriam C. B. DeMille Sir Cedric Hardwicke Jesse Lasky William Cameron Menzies Fred Metzler William Seiter Gregg Toland JerryWald •' ZJetu 7<a{llta ,~ National Honorar:y Cinema Fraternit:y ALPHA CHAPTER UNIVERSITY OF SOUTHERN CALIFORNIA UNIVERSITY pARK Los ANGELES 7, CALIFORNIA Herbert A. Thurman Pruidmt S. Martin Shelton Pice-Pruident Robert Bethard Recording Secretary Ramon Ponce Corresponding Secretary , Ralph Rodine Treasurer Barry Kirk Public Relations Ramon Ponce Film Classics Fr. Sean A. Dunne Chaplain William S. Mehring Fac~lty Adviser HONORARY MEMBP.RS Elmo Williams ::!o.. ._. s W ~ "' '\ \-\ow e · / Karl Freund Roy Wolford \<. i V\ ~ o "" George Stevens 'f\, Mogen Skot-Hansen \r; \\I d.._ S·:n1t,. ~ Joe E. Brown Wally Westmore Sea. \o~ / t) - Jesse L. Lasky Arthur Miller William Perlberg Arthur Freed Stanley Kramer "tVI.~ \( ~ \\' John Huston Jerry Wald c. (c. .. \ ~ • ~ '" '\''\ i \\ 4t V' 0 -William C. Menzies Miklos Rosza W. II 1 t-- m Lt t: c: l-z. ./" Slavko Vorkapich Fred L. Metzler John L Cromwell Sir Cedric Hardwicke 0 -Gregg Toland Boris V, Morkovin Delta Kappa Alpha National Honorary Cinema Fraternity ALPHA KAPPA CHAPTER UNIVERSITY OF SOUTHERN CALIFORNIA UNIVERSITY pARK Los ANGELES 7, CALIFORNIA Daulat S. Masuda Pr~sidmt ,.,.,_ .... ···- Gene Lemmon Yict-Pr~sident Ralph Rodine Corr~sponding Ster~tary Steve Coakley Rtcording s~cr~tary Chris Seiter Tr~asurer Barry Kirk Public R~/ations Warren Brown Film Classics William S. Mehring Faculty Advisor HONORARY MEMBERS George Stevens Mogen Skat-Hansen Joe E. Brown Wally Westmore Jesse L. Lasky Arthur Miller William Perlberg Arthur Freed Stanley Kramer John Huston Jerry Wald William C. Menzies Miklos Rosza Slavko Vorkapich Fred L Metzler John L. Cromwell Sir Cedric Hardwicke Gregg Toland Boris V. Morkovin 0 1. 1a o u..,. v r: ;ty tj Q(,forru I t-o : ;, 0 0 J lh .

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Durham E-Theses
Durham E-Theses Pulling focus: New perspectives on the work of Gabriel Figueroa Higgins, Ceridwen Rhiannon How to cite: Higgins, Ceridwen Rhiannon (2007) Pulling focus: New perspectives on the work of Gabriel Figueroa, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2579/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Pulling Focus: New Perspectives on the Work of Gabriel Figueroa by Ceridwen Rhiannon Higgins University of Durham 2007 Submitted for Examination for Degree of PhD 1 1 JUN 2007 Abstract This thesis examines the work of Mexican cinematographer Gabriel Figueroa (1907 -1997) and suggests new critical perspectives on his films and the contexts within which they were made. Despite intense debate over a number of years, auteurist notions in film studies persist and critical attention continues to centre on the director as the sole giver of meaning to a film.
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ASC History Timeline 1919-2019
American Society of Cinematographers Historical Timeline DRAFT 8/31/2018 Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized. Each consists of cinematographers who shared ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity. They both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer magazine is published. Volume One, #1, consists of four pages and mostly reports news and assignments of ASC members. It is published twice monthly. 1922 — Guided by ASC members, Kodak introduced panchromatic film, which “sees” all of the colors of the rainbow, and recorded images’ subtly nuanced shades of gray, ranging from the darkest black to the purest white. The Headless Horseman is the first motion picture shot with the new negative. The cinematographer is Ned Van Buren, ASC.
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Films from the Archives of the Museum of Modern Art and the George Eastman House
'il The Museum of Modem Art FOR ™IATE RRLEASF yvest 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modernart KINO EYE OF THE 20s FEATURES FILM MASTERPIECES Films from the Archives of The Museum of Modern Art and The George Eastman House The Museum of Modern Art, in collaboration with the George Eastman House in Roches ter, will present several film masterpieces as part of its program "Kino Eye of the 20s," starting July 23 with Ilya Trauberg's "China Express." The program, scheduled through August 26, will also include such film classics as Carl Dreyer's "The Passion of Joan of Arc;" Pudovkin's "Mother;" Erich von Stroheim's "Greed;" F.W. Murnau's "The Last Laugh;" Eisenstein's "Potemkin;" and "The Cabinet of Dr. Caligari," one of the most controversial films of its time. Thirty-seven pictures were selected by Beaumont Newhall, Director of the George Eastman House, who is responsible for organizing the current photographic exhibition, "Photo Eye of the 20s," to which "Kino Eye of the 20s" is a companion program. Mr. Newhall will appear at the Thursday evening performance, July 30 at 8 p.m., fjhen he will introduce the Murnau film "Sunrise" and discuss the series. A strong kinship between photography and film existed in this decade, when the film found its syntax and structure, according to Mr. NeT;hall. "In a quarter of a century the movies had grown from a vaudeville novelty to a distinct and po';erful art form." The decade saw the production of some of the greatest films ever made.
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Ebruary 25 Published by CENTS American Society of Cinematographers
FEBRUARy 25 Published by CENTS American Society of Cinematographers I I IN BRIGHT SUNLIGHT OR DEEP SHADOW... under incandescent or arc light WILL GIVE A BETTER RESULT THAN IS OTHER- WISE OBTAINABLE The (fiTPQNj) trade-mark has r E6 U. S. PAT Off- never been placed on an inferior product SMITH & ALLER, Ltd. 6656 Santa Monica Boulevard - HOIlywood 5H7 HOLLYWOOD, CALIFORNIA Pacific Coast Distributors for DUPONT FILM MFG. CORP. 35 West 45th Street - New York City February 1933 • American Cinematographer 1 AMERICAN CINEMATOGRAPHER A Technical and Educational publication of motion picture photography. Published monthly by the AMERICAN SOCIETY OF CINEMATOGRAPHERS, INC., Suite 1222 Cuaranty Building, Hollywood, California. Telephone Granite 4274. JOHN ARNOLD, President, A. S. C. GEORGE SCHNEIDERMAN, Treasurer, A. S. C. Volume XIII FEBRUARY, 1933 Number 10 What to Read PHOTOS by Karl Struss, A.S.C 5 A.S.C. Tests 7 MITCHELL Noiseless Camera by Ha! Rosson, A.S.C 8 TREND of the Times 10 The Staff RECORDING Music by David Mendoza 1 1 PHOTOGRAPHY of the Month 12 EDITOR Charles VerHalen “MISCASTING” the Cinematographer J. by Victor Milner, A.S.C 13 TECHNICAL EDITOR RIDDLE Me This 14 Emery Huse, A. S. C. DIFFERENCE Between Gamma and Contrast by Emery Huse, A.S.C 16 ASSOCIATE EDITOR William Stull, A. S. C. WHEELS of Industry 18 ON the Job With Camera and Sound Men 40 COVER AND ART Dorothy Groton AMATEUR SECTION ADVISORY ENLARGEMENTS from 16 MM. Film EDITORIAL BOARD by Hatto Tappenbeck, A.S.C 20 George Schneiderman, A. S. C. KODACOLOR Experiences and Experiments Hatto Tappenbeck, A.
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American Cinematographer (1925)
U. S. Postage 2c. Paid Los Angeles, Calif. Vol. V Permit No. 941 No. 10 January, 1925 American & Cinema!oqrapher Published by the American Society of Cinematographers , Inc. 1 Announcement of New PROJECTION DEPARTMENT (See Page Four) PUBLISHED IN HOLLYWOOD CALIFORNIA Releases November 24th, 1924 to December 15th, 1924 TITLE PHOTOGRAPHED BY A Sainted Devil Harry Fischbeck, member A. S. C. The H ouse of Youth J. O. Taylor The Law and the Lady Not credited Trigger Fingers Walter Griffin, member A. S. C. Forbidden Paradise Charles Van Enger, member A. S. C. Her Night of Romance Ray Binger and Victor Milner, member A.S.C. The Siren of Seville Sol Polito, member A. S. C. Wa ges of Virtue George Webber Daughters of the Night Not credited The Mad Whirl Merritt Gerstad The White Sheep Floyd Jackman, member A. S. C. and Geo. Stevens Greed Ben Reynolds and Wm. H. Daniels Broken Laws J. R. Diamond Sundown David Thompson Smouldering Fires Jackson J. Rose, member A. S. C. North of 36 Alfred Gilks, member A. S. C. The Dark Swan David Abel, member A. S. C. The Ancient Law Not credited The Roughneck George Schneiderman, member A. S. C. Unmarried Wives Jack McKenzie The Legend of Hollywood Karl Struss Romola Roy Overbaugh, member A. S. C. Love's Wilderness Oliver Marsh The Foolish Virgin Norbert Brodin, member A. S. C. Secrets of the Night Gilbert Warrenton, member A. S. C. Idle Tongues Karl Struss Women First Allen Thompson Comin' Through the Rye Not credited Troubles of a Bride Not credited Battling Bunyan Frank Cotner On Probation Ernest Miller On the Stroke of Three Victor Milner and Paul Perry, members A.S.C.
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Fright—In All of Its Forms—Has Always Been an Essential Part of the Moviegoing Experience
SCARY MOVIES Fright—in all of its forms—has always been an essential part of the moviegoing experience. No wonder directors have figured out so many ways to horrify an audience. FINAL TOUCHES: (opposite) Director Karl Freund and makeup artist Jack P. Pierce spent eight hours a day applying Boris Karloff’s makeup in The Mummy (1932). This was the first directing job for the noted German cinematographer Freund, who was hired two days before production started. (above) John Lafia scopes out Chucky, a doll possessed by the RES soul of a serial killer, in Child’s Play 2 (1990). Lafia made the 18-inch, half-pound plastic U ICT doll seem menacing rather than silly by the clever use of camera angles. P PHOTOS: UNIVERSAL UNIVERSAL PHOTOS: 54 dga quarterly dga quarterly 55 BLOOD BATH: Brian De Palma orchestrates the scene in Carrie (1976) in which UNDEAD: George A. Romero, surrounded by his cast of zombies on Dawn of the Carrie throws knives at her diabolical mother, played by Piper Laurie. De Palma Dead (1978), saved on production costs by having all the 35 mm film cast Laurie because he didn’t want the character to be “the usual dried-up old stock developed in 16 mm. He chose his takes, then had them developed crone at the top of the hill,” but beautiful and sexual. in 35. Romero convinced the distributor to release the film unrated. PHOTOFEST PHOTOFEST ) ) RIGHT BOTTOM VERETT; (boTTOM right) right) (boTTOM VERETT; E RTESY: RTESY: U O RES/DREAMWORKS; ( RES/DREAMWORKS; C U NT/ ICT U P NT NT U ARAMO P ARAMO P ) ) LEFT ; (boTTOM left) © © left) (boTTOM ; BOTTOM ; ( ; MGM EVERETT OLD SCHOOL: The Ring Two (2005), with Naomi Watts, was Hideo Nakata’s first CUt-rATE: Director Tobe Hooper got the idea for The Texas Chainsaw Massacre PIONEER: Mary Lambert, on the set of Pet Sematary (1989) with Stephen GOOD LOOKING: James Whale, directing Bride of Frankenstein (1935), originally American feature after directing the original two acclaimed Ring films in Japan.
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Escala En Buenos Aires: Los Primeros Años De John Alton En El Cine Argentino
149 Escala en Buenos Aires: los primeros años de John Alton en el cine argentino Por Iván Morales* Resumen: El siguiente artículo estudia los primeros años de John Alton en el cine argentino, donde se desempeñó como director de fotografía entre 1932 y 1939. Alton nació en el Imperio austrohúngaro, se formó en Hollywood durante los años veinte, a fines de esa década viajó a Europa para ocuparse de los estudios que Paramount tenía en Francia, trabajó brevemente como camarógrafo de exteriores en países de Asia y África, y finalmente llegó a la Argentina, donde permaneció durante siete largos años hasta que regresó a Hollywood definitivamente. El primer aspecto que desarrollaré es la cultura viajera de John Alton y su llegada a Buenos Aires. En segundo lugar, analizaré el rol clave que tuvo Alton en la consolidación de una joven cinematografía nacional que aspiraba a convertirse en industria. A partir de su paso por el proyecto cosmopolita de la productora SIFAL, trabajaré con la película Escala en la ciudad (Alberto de Zavalía, 1935) para dar cuenta de cómo su fotografía implicó una modernización técnica y estética inédita para el cine argentino. Palabras clave: John Alton, dirección de fotografía, cine argentino, film noir. Resumo: Este artigo estuda os primeiros anos de John Alton no cinema argentino, onde atuou como diretor de fotografia entre 1932 e 1939. Alton nasceu no Império Austro-Húngaro, se formou em Hollywood durante os anos 1920, no final dessa década viajou à Europa para trabalhar nos estúdios que a Paramount tinha na França, trabalhou brevemente como cinematografista de exteriores em países da África e da Ásia e, finalmente, chegou à Argentina, onde permaneceu durante sete anos até regressar a Hollywood definitivamente.
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A Case Study of Gregg Toland and Citizen Kane
Volume 5, Issue 1 February 2012 Authorship and the Director of Photography: A Case Study of Gregg Toland and Citizen Kane PHILIP COWAN, Manchester Metropolitan University ABSTRACT The artistic contribution of Directors of Photography to the films that they shoot, in narrative mainstream cinema, have been historically ignored in favour of the director-centred auteur theory. In order to address this imbalance a new approach to attributing authorship in film needs to be implemented, which acknowledges co-authorship in collaborative film-making. By taking established auteur methodologies Philip Cowan, himself a practicing Director of Photography, analyses the work of Gregg Toland, who has long been recognised for his technical contribution to Citizen Kane (Welles, 1941), but only by analysing his previous work can one actually realise the depth of his influence on the visualisation of Kane. KEYWORDS Film, cinematography, authorship, Gregg Toland, Citizen Kane, Orson Welles Gregg Toland and the cinematographer’s plight Gregg Wesley Toland, born in 1904, became one of the most respected Directors of Photography in Hollywood during the 1930s and 40s. He started his career as an assistant to cinematographer George Barnes, who would later shoot Rebecca (Hitchcock, 1940). By 1931 Toland had graduated to cinematographer at Goldwyn Studios. Throughout the 30s he developed his own style of shooting, on films including Les Miserables (Boleslawski, 1935), Mad Love (Freund, 1935), The Road to Glory, (Hawks, 1936), Dead End (Wyler, 1937), Wuthering Heights (Wyler, 1939), The Grapes of Wrath (Ford, 1940), and The Long Voyage Home (Ford, 1940). In 1941 he shot the film that many film critics and theorists consistently regard as the best American film ever made, Citizen Kane (Welles, 1941).
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Notes on Film Noir Author(S): Paul Schrader Source: Film Comment, Vol
notes on film noir Author(s): Paul Schrader Source: Film Comment, Vol. 8, No. 1 (SPRING 1972), pp. 8-13 Published by: Film Society of Lincoln Center Stable URL: http://www.jstor.org/stable/43752885 Accessed: 16-02-2018 15:07 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Film Society of Lincoln Center is collaborating with JSTOR to digitize, preserve and extend access to Film Comment This content downloaded from 160.39.38.192 on Fri, 16 Feb 2018 15:07:58 UTC All use subject to http://about.jstor.org/terms Paul Schräder is editor of Cinema (Los Angeles) and medium cool seems naive and romantic. As and author of Transcendental Style on Film, soon the current polical mood hardens, filmgoers and to be published by University of California Press. filmmakers will find the film noir of the late Forties This article originated as program notes for a series increasingly attractive. The Forties may be to the of seven film noir, screened as part of the first Los Seventies what the Thirties were to the Sixties. Angeles International Film Exposition , November Film noir is equally interesting to critics. It offers 1971.
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ASC History Timeline
American Society of Cinematographers Historical Timeline Compiled by David E. Williams February, 1913 — The Cinema Camera Club of New York and the Static Camera Club of America in Hollywood are organized by their respective members. Each consists of cinematographers who sought to share ideas about advancing the art and craft of moviemaking. By 1916, the two organizations exchange membership reciprocity, but they both disband in February of 1918, after five years of struggle. January 8, 1919 — The American Society of Cinematographers is chartered by the state of California. Founded by 15 members, it is dedicated to “advancing the art through artistry and technological progress … to help perpetuate what has become the most important medium the world has known.” Members of the ASC subsequently play a seminal role in virtually every technological advance that has affects the art of telling stories with moving images. Philip E. Rosen is elected be the first president of the ASC. June 20, 1920 — The first documented appearance of the “ASC” credential for a cinematographer in a theatrical film’s titles is the silent western Sand, produced by and starring William S. Hart and shot by Joe August, ASC. November 1, 1920 — The first issue of American Cinematographer is published. Volume One, #1 consists of just four pages, reporting on news and assignments of ASC members. The newsletter is published twice monthly. October 1, 1921 — American Cinematographer becames a genuine magazine — boasting 16 pages — and is published every month since. Over the decades and under the guidence of several editors, AC grows into the leading professional cinematography publication of the world and earns multiple awards for excellence.
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GOTHIC: the DARK HEART of FILM Season Launches on 21 October at BFI SOUTHBANK, London
GOTHIC: THE DARK HEART OF FILM Season Launches on 21 October at BFI SOUTHBANK, London Part 1: MONSTROUS & Part 2: THE DARK ARTS Featuring special guests Roger Corman, Dario Argento and George A Romero Plus previews and events with Sir Christopher Frayling, Charlie Brooker, Charlie Higson, Russell Tovey, Anthony Head, Benjamin Zephaniah, Mark Gatiss, John Das, Philip Saville and Sarah Karloff The BFI blockbuster project GOTHIC: THE DARK HEART OF FILM launches at BFI Southbank on Monday 21 October and runs until Friday 31 January 2014. With the longest running season ever held to celebrate GOTHIC, one of Britain’s biggest cultural exports. An interview with the legendary director Roger Corman (The Masque of the Red Death, 1964) on 25 October will be followed with a haunting Hallowe’en that will fill BFI screens with mummies and vampires – old and new. Exclusive Film and TV previews will feature on-stage interviews with cinema luminaries such as George A Romero (Night of the Living Dead, 1968) and Dario Argento (Suspiria, 1976), and Sonic Cinema music nights such as the UK premiere of the Roland S Howard (The Birthday Party, Crime and the City Solution) documentary Autoluminescent (2011), accompanied by a live performance from Savages and HTRK. There will be specially curated exhibitions in the Atrium and Mezzanine that offer the chance to view the original contracts for Peter Cushing and Sir Christopher Lee at Hammer and Truman Capote’s handwritten screenplay for The Innocents (1961), plus Mediatheque programmes from the BFI National Archive, horribly good Family Fundays, education events and panel discussions, while across the length and breadth of the UK, GOTHIC will thrill audiences with fantastic screenings and restored films, starting with Werner Herzog’s Nosferatu the Vampyre (1979) on 31 October.
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Catalog Sixty-Nine Royalbooks C Atalog Sixty-Nine Royal Books the CELLULOID PAPER TRAIL
catalog catalog sixty-nine royal books Royalc Booksatalog sixty-nine THE CELLULOID PAPER TRAIL Oak Knoll Press is pleased to announce the publication of Terms and Conditions Kevin R. Johnson’s The Celluloid All books are first editions unless indicated otherwise. Paper Trail. The first book All items in wrappers or without dust jackets advertised have glassine covers, and all dust jackets are protected ever published on film script by new archival covers. Single, unframed photographs identification and description, housed in new, archival mats. lavishly illustrated and detailed. In many cases, more detailed physical descriptions for archives, manuscripts, film scripts, and other ephemeral Designed for any book scholar, items can be found on our website. including collectors, archivists, Any item is returnable within 30 days for a full refund. librarians, and dealers. Books may be reserved by telephone, or email, and are subject to prior sale. Payment can be made by credit card Available now at royalbooks.com or, if preferred, by check or money order with an invoice. or by calling 410.366.7329. Libraries and institutions may be billed according to preference. Reciprocal courtesies extended to dealers. Please feel free to let us know if you would like your copy signed or inscribed by the author. We accept credit card payments by VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PAYPAL. Shipments are made via USPS priority mail or Fedex Ground unless other arrangements are requested. All shipments are fully insured. Shipping is free within the United States. For international destinations, shipping is $60 for the first book and $10 for each thereafter.
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