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Home , Ernest Haller, Floyd Crosby, Freddie Francis, Gregg Toland, Guillaume Schiffman, Harold Rosson

Illustrations

An early Edison filmstrip, photographed by William Kennedy Laurie Dickson 7 A scene from Alice Guy’s La Vie du Christ (1906), photographed by Anatole Thiberville 10 , far left, next to the camera, on ’s romantic drama Till We Meet Again (1936) 20 and the cast of Twentieth Century (1934) in a posed publicity shot, with Joseph August kneeling next to the camera 21 A futuristic cityscape from Fritz Lang’s 1927 film Metropolis, photographed by , Günther Rittau, and 29 Karl Freund, hands raised, right, directing The Mummy (1932), with cameraman Charles Stumar lining up a shot with star 30 Karl Freund’s eccentric horror filmMad Love (1935), photographed by and Chester Lyons, with , the film’s star, on the right 31 at the camera, left; D. W. Griffith, right, during the shooting of Way Down East (1920) 36 A scene from F. W. Murnau’s classic vampire filmNosferatu (1922), photographed by and an uncredited Günther Krampf 39

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A complex setup from ’s Grand Hotel (1932), photographed by William Daniels 45 Cinematographer William Daniels behind the camera on ’s (seated, with glasses, on camera dolly) Queen Christina (1933) 46 The famous Odessa steps sequence from Sergei Eisenstein’s (1925), photographed by Eduard Tisse 47 Cinematographer early in his career 55 A scene from Frank Capra’s Meet John Doe (1941), with by George Barnes 68 A scene from F. W. Murnau and Robert Flaherty’s Tabu (1931), shot on location in the South Pacific, and photographed by cinematographer 71 (back to camera, with gray hair and glasses) doing some location shooting for director (first from left, popping out of the top of the Volkswagen) for Lumet’s The Pawnbroker (1964) 87 Nazi pageantry in Leni Riefenstahl’s Triumph of the Will (1935), photographed by a battalion of cameramen under the direction of Sepp Allgeier 89 Cinematographer Sid Hickox, extreme right, with glasses, supervising a scene in To Have and Have Not (1944), as director Howard Hawks, left, seated on stool, watches the action 90 Humphrey Bogart and in Howard Hawks’s The Big Sleep (1946), gorgeously photographed by Sid Hickox 91 pointing for emphasis as cinematographer Gregg Toland, legs crossed, looks on during the production of Welles’s (1941) 99 ’s tale of returning World War II veterans The Best Years of Our Lives (1946), photographed by Gregg Toland 102 Burnett Guffey, third from left, with light meter, taking a reading on the set of From Here to Eternity (1953), as stars Donna Reed and Montgomery Clift rehearse a scene and director , far left, looks on 124 lining up a scene with director of cinematography Ted Tetzlaff (partially obscured by Hitchcock’s hand) for his thriller Notorious (1946) 128 Illustrations H xiii

Sam Wood, seated, directing a scene from (1933), starring and , as cinematographer Harold Rosson looks on 135 Jean Cocteau gesturing to the camera as (entirely obscured, peering through the viewfinder under a black cloth) sets up a shot for his classic Beauty and the Beast (1946) 143 looking through the viewfinder on the set of Orson Welles’s (1958) 162 , far right with glasses, leaning on motorcycle, on the set of Robert Aldrich’s (seated, on motorcycle) Gothic horror filmWhatever Happened to Baby Jane? (1962) 165 Father and son in desperate straits in ’s (1948), photographed by Carlo Montuori 169 An expressionistic scene from ’s The Seventh Seal (1957), photographed by Gunnar Fischer, with Bengt Ekerot as Death and Max von Sydow as the Knight 171 and Ingmar Bergman relaxing for a moment on the set of Bergman’s Persona (1966) 173 A typical setup from Yasujirô Ozu’s 1953 masterpiece Story, photographed by Yûhara Atsuta 174 A scene from Jean-Luc Godard’s Breathless (1960), with Jean-Paul Belmondo and , photographed by 182 A pensive Antoine Doinel (Jean-Pierre Léaud) in François Truffaut’s debut feature,The 400 Blows (1959), photographed by Henri Decaë 187 David and Albert Maysles shooting their groundbreaking documentary Salesman (1966), using a handheld camera, available light, and a portable 16 mm camera 193 , left, in raincoat, lining up a shot on ’s Room at the Top (1959) 195 Harpsichordist Gustav Leonhardt as Johann Sebastian Bach in Jean-Marie Straub and Danièle Huillet’s The Chronicle of Anna Magdalena Bach (1968), photographed by Ugo Piccone 201 A scene from Pier Paolo Pasolini’s neorealist The Gospel According to St. Matthew (1964), photographed by Tonino Delli Colli, with nonprofessional actor Enrique Irazoqui as Christ 203 Marcello Mastroianni and companions in ’s 1960 masterpiece La Dolce Vita, photographed by Otello Martelli 206 xiv H Illustrations

Gerard Malanga and Andy Warhol, at the start of Warhol’s prolific career as a filmmaker 208 Director Jean-Luc Godard, who with cinematographer Raoul Coutard changed the grammar of cinema 216 Fake black and white: The Artist (2011, directed by and photographed by ) — shot in color, but screened in monochrome 219

All images courtesy Jerry Ohlinger Archives