By Wheeler Winston Dixon
Black and White Cinema is the 1st examine to contemplate using black-and-white as an artwork shape in its personal correct, offering a finished and international evaluation of the period whilst it flourished, from the 1900s to the Nineteen Sixties. Acclaimed movie pupil Wheeler Winston Dixon introduces us to the masters of this artwork, discussing the signature kinds and technical techniques of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist. Giving us a different glimpse behind the curtain, Dixon additionally unearths the artistic 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 ebook is a rallying cry, intended to motivate a love for the artistry of black-and-white movie, in order that we'd paintings to maintain this crucial a part of our cinematic background. Lavishly illustrated with greater than 40 on-the-set stills, Black and White Cinema provides a shiny and illuminating examine a creatively important era.
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Additional info for Black and White Cinema: A Short History
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Goodman X3) Howard Hawks and the cast of Twentieth Century (1934) in a posed publicity shot, with cinematographer Joseph August kneeling next to the camera 22 H Black & White Cinema Arthur Edeson was a similarly versatile cameraman, and he too started as a still photographer before breaking into the movie business at the Eclair Studios in Fort Lee, New Jersey, in 1911. He spent his spare time shooting portraits of the other actors in the Eclair troupe, which brought Edeson to the attention of cinematographer John Van den Broeck, and when one of the regular Eclair DPs fell ill, Van den Broeck tapped Edeson as a last-minute replacement.
One should] create dramatic shadows and highlights while still keeping a full range of midtones. This is often best achieved with a strong backlight and keylight. That’s because without color to lead viewers' eyes in the shot, the only areas that a viewer’s eyes are going to be drawn to will be areas of sharp contrast. . The grays are especially important for capturing the proper tone in skin and the gradual depth of objects in your scene. That’s why overcast days are some of the best times to shoot landscapes in black and white.
Leaving only the space of a small window as an “escape hatch”) than on lighting, which was generally even and bright during the exterior daylight sequences — most often using natural light and reflectors — and suitably subdued at night, whether indoors or outside. Yet if Keaton’s approach to lighting his films could arguably be described as utilitarian, he knew exactly what to do in any given scene to obtain the designed effect. Describing a dream sequence in his film Sherlock Jr. p. Byron Houck and Elgin Lessley) to Christopher Bishop, in which Keaton seems to leave the audience in a movie theater to join the characters “on the screen,” Keaton explained: We built what looked like a motion picture screen and actually built a stage into that frame but lit it in such a way that it looked like a motion picture being projected on a screen.