EUROPEAN FEDERATION OF CINEMATOGRAPHERS ABRAMS / AURUM - 2003 IMAGO BOOK Aaton Joe Dunton Camera Agfa Gevaert Kodak SPONSORS Alga Lee Lighting L’Aquila LTM Arri Moviecam Arricam Nordisk Film Foundation Cinecittà Panavision Cinematographer’s Day Rank Organisation De Luxe Laboratory Rosco Datacine Group / LTC Sachtler De Sisti Lighting Samuelson’s Eclair Scandinavian Labs Fuji TechnoVision GTC IMAGO BOOK COLLABORATORS Authors : Zoë Bicât, Cathy Greenhalgh, Barry Salt (all London) Editor : Michæl Leitch (Oxon Abingdon) Film selection (100 films) : Wolfgang Fischer, bvk (Hamburg) ^ Tony Forsberg, FSF^ (Stockholm) Jaromír Sofr, ACK (Prague) Luciano Tovoli while shooting Le Placard (The Closet) — Francis Veber, 2001 Historical and iconographic researches : Paul Beeson and Clive Tickner, BSC (London) — Giorgio Tonti, AIC and Luciano Tovoli, AIC-ASC (Rome) — Wolfgang Fischer, bvk (Hamburg) — Andreas Fischer-Hansen and Henning Kristiansen, DFF (Copenhagen) — Monika and Frédéric-Gérard Kaczek, AAC (Vienna) — Josep M. Civit and Tómas Pladevall, AEC (Barcelona) — Robert Alazraki, Armand Marco, AFC and Marc Salomon (Paris) — Andrzej J. « This book celebrates cinematographers and through ^ Jaroszewicz, PSC (Warsaw) — Roland^ Sterner, FSF them the art of film-making. Important awards (Stockholm) — Jaromír Sofr, ACK (Prague) and many others... worldwide, including the Academy Awards, have long Art Director : David Pocknell (Braintree) been bestowed on cinematographers in tribute to Designer : Jon Allan, Pocknell Studio (Braintree) their skill and talent. But we would like, through Image enhancement : Marc Salomon and Jean-Marie Achard (Paris) ) Layout and Typesetting : Bob Slater, Pocknell Studio (Braintree) something less ephemeral than awards, however presti- Editorial consultant : Roger Sears, Sears & Pocknell (Oxford) gious, to bring to the surface something that until now has Coordination : Peter Dubovitz, HSC (Budapest) Harvey Harrison, BSC (London) only been lightly touched upon : the deep meaning of an Matthias Maasz, bvk (Stuttgart) elaborate form of expression and how it is realised. » General management : Monika and Frédéric-Gérard Kaczek AAC (Vienna) Printing house : Imago Ltd. (Singapore) Excerpt from “Coming from Afar” Published in Great Britain Published in the United States by Aurum Press Ltd by Harry N. Abrams, Inc. by Luciano Tovoli AIC-ASC 25 Bedford Avenue 100 Fifth Avenue London WC1B 3AT New York, NY 10011 ISBN : 1854108891 ISBN : 0810943859 1 2 Making Pictures : A Century of European Cinematography 3 This lavishly illustrated 482 pages volume was initiated by Luciano Tovoli AIC-ASC (Italy) ILLUSTRATIONS and created by members of IMAGO. The handling of text and illustration research material was coordinated by Monika and Frédéric-Gérard Kaczek AAC (Austria) and Marc Salomon In order to reproduce the work of cinema- (France). The work of European Directors of Photography is analysed from the point of view of tographers at its best, IMAGO has illustrated both aesthetics and technique in several essays. The book contains 780 illustrations in black-&- the book with frame enlargements captured white and colour ; mostly frame enlargements, supplemented with film stills and reproductions. from theatrical release prints wherever this was possible. To fulfil IMAGO’s aims, each country member of the European Federation CONTENT assisted in providing photographic material. • Two forewords and five short essays by cinematographers Harvey Harrison BSC (United Approval for this copious work was only Kingdom), Luciano Tovoli AIC-ASC (Italy), Sven Nykvist FSF-ASC (Sweden), Giuseppe achieved with the generous collaboration of 4 Rotunno AIC-ASC (Italy), director Bernardo Bertolucci and actor Marcello Mastroianni. several archives, laboratories and individuals. 5 If prints or rights for frame enlargements were not available, stills have been used, and the • Two essays, “A History of European Cinematography” by Michael Leitch, which reveals the images have sometimes been restored, graded evolution of film techniques and “Shooting from the Heart - Cinematographers and their Medium” by Cathy Greenhalgh which explores aesthetics and the cinematographer’s role. and cropped to the right aspect ratio. ^ 6 • ^ 100 Films selected by IMAGO jury Jaromír Sofr ACK (Czech Republic), Wolfgang Fischer bvk (Germany) and Tony Forsberg FSF (Sweden) which are described in detail by Zoë Bicât and Barry Salt. 1 Il Conformista (The Conformist) — B. Bertolucci, 1969 Cinematographer : Vittorio Storaro AIC-ASC 2 Renowned Swedish cinematographer John Julius • “Tools of the Trade” which contains several Jaenzon behind his French Pathé camera 3 Delphine Seyrig in L’Année dernière à Marienbad articles by IMAGO industry partners who sup- (Last Year in Marienbad) — Alain Resnais, 1961 ported production of the book. Cinematographer : Sacha Vierny 4 Vredens Dag (Day of Wrath) — Carl Th. Dreyer, 1943 Cinematographer : Karl Andersson 5 The Red Shoes — Michæl Powell, 1948 • A select bibliography, glossary, and general, Cinematographer : Jack Cardiff BSC 6 Letyat zhuravli (The Cranes are Flying) In the Lemon Garden (Emil Nolde, 1933) film, cinematographer and director indexes com- Mikhail Kalatozov, 1957 by courtesy of Staatsgallerie Stuttgart plete the volume. Cinematographer : Sergei Urusevski frame enlargements on pages 224-225 Ivan Grosny (Ivan the Terrible) Sergei M. Eisenstein - 1942/46 Cinematographers : Andrei Moskvin and Eduard Tissé Frame enlargement from Una giornata particolare (A Special Day) with Sophia Loren and Marcello Mastroianni — Ettore Scola, 1977 Cinematographer : Pasqualino de Santis AIC Jost Vacano while shooting Das Boot (The Boat) — Wolfgang Petersen, 1981 « Cinema is photography, a photography enriched by ideas « Cinematography is the visualization of and the creative basis and feelings that need to be put across. for telling any story on film. For this reason cinematography I have often been surprised to learn how modestly paid must necessarily be of the utmost importance with regard to these people are, compared with others in the industry. establishing authorship. Who is, then, the author of ) Just think of the magic that photography can add to a film. ) cinematography ? And not just the magic, but the way it can interpret the There is no doubt, that in case of stills photography, the respon- thoughts of the director, the film’s creator. Without the help of the sibility lies with the photographer – in the case of cinematography it “magician of light” responsible for the images, how could anyone lies accordingly with the DP, and certainly not with the Director ! make those wonderful films that look like real works of art ? Given the fundamental importance of photography and lighting in The director of photography is always a more moderate character film-making, the DP, as the Author of the cinematographic image, compared to the director ; he likes to work in silence. » must, logically, also be regarded as a Co-Author of that film. » Excerpt from “The Actor’s View” by Marcello Mastroianni Jost Vacano bvk-ASC AAC IMAGO end of 2000. As guests of The Poland) and Madridimagen (Madrid, One of the further activities is HFS Camerimage International Film Spain). One of the first major projects the cooperation with politicians with Austria BRIEF HISTORY Croatia ^ Festival of the Art of Cinemato- for IMAGO was the undertaking of the aim to reach the legal recognition graphy in Torun (Poland), IMAGO ACK this book. We wanted to achieve a of the author rights for the cinemato- HSC IMAGO, the European welcomed the associations of prestigious work of reference to graphers in each European country, Federation of National Cinemato- Czech Portugal, Croatia and Bulgaria as what is now more than 100 years of and with the long-term objective Hungary graphers Associations, was founded Republic new active members. The Indian European Cinematography, telling in obtaining its harmonisation all over in Rome on December 13th, 1992 by Society of Cinematographers ISC detail how Directors of Photography Europe. A dedicated declaration has MSC Luciano Tovoli, then the President also became the second associate AEC have thought and worked in both been signed by all IMAGO Members of the Italian Society of member. The Belgian cinematogra- Republic of past and present times. present in Torun 1999. Spain Cinematographers AIC. He was pher Frédéric G. Kaczek, board Macedonia voted the first biannual President of member of the Austrian Society AFC IMAGO by the German bvk, the AAC, was voted Secretary General NSC British BSC and the French AFC. IMAGO MEMBERS France and Matthias Maasz bvk became Netherlands The four founding Societies were IMAGO’s webmaster. joined first by the Spanish and the AIC For a full description of the federation and its members see the web page PSC Danish societies and later by http://www.imago.org In 2001, Hungarian cinemato- Austria, Belgium, Finland, The Italy grapher Tibor Vagyóczky HSC was Poland Netherlands, Norway and Sweden, AAC Spittelberggasse 3 HFS Britanski trg 12 elected President of Imago for the who became full members. A - 1070 Vienna – Austria 10 000 Zagreb – Croatia AIP next term. The Russian Guild of ^ RGC Cinematographers RGC was welco- ACK Senovazne namesti 23 HSC Róna u. 174 Russia Portugal In 1994, Harvey Harrison, med as the 23rd member of the P.P.820 11282 Praha 1 – Czechia H-1145 Budapest – Hungary BSC was elected as the new federation, the Brazilian ABC and ASK President. Societies from the Czech the Cuban ACF became associate AEC