[c]Link RemovedThe Man in the Moon
Dir. Robert Mulligan D.P. Freddie Francis
Discussion led by: John Rice
Regardless of your opinion of The Man in the Moon as a film, it is undeniable that it's photography is nothing short of stunning. The composition is always interesting, dynamic and creative, the lighting has an almost fantasy look, and the colors have a rich and lush quality that I usually only expect from the classic Technicolor films of the past.Link RemovedKlute
Dir. Alan J. Pakula D.P. Gordon Willis
Discussion led by: PatrickL
A highly unique detective thriller that manipulates film noir conventions to explore social issues, "Klute" is especially outstanding for Gordon Willis' distinctive cinematography. It is a fine example of Willis' genius, demonstrating how he can make bold and unusual photographic choices with light and with composition, and still remain rigorously attuned to creating the cinematography that best expresses the story.Link RemovedOliver Twist (1948)
Dir. David Lean D.P. Guy Green
Discussion led by: Agee Bassett
Oliver Twist is a milestone in black-and-white movie photography as an expressive medium. A superbly stylish exercise in the use of monochrome, light, shadow, form, texture, shape, composition and motion as character analysis and dramatic storytelling, Guy GreenÕs phantasmagoric visions bring to vivid and controversial life the dark, violent overtones eschewed by other, more timid film adaptations of DickensÕ work. Selected by film and David Lean scholar Alain Silver as a textbook illustration of Andre BazinÕs Three Forms of Cinematic Reality.Link RemovedOut of Sight
Dir. Steven Soderbergh D.P. Elliot Davis
Discussion led by: Seth Paxton
Link RemovedVertigo
Dir. Alfred Hitchcock D.P. Robert Burks
Discussion led by: George Kaplan
Vertigo is a film with that classic stylized Hitchcock/Robert Burks look that mark his classic fifties color films. It is also innovative, including the 'vertigo' effect itself, later used in other films (such as Jaws). And thanks to the Harris/Katz restoration, we can see this beautiful film the way it originally looked.[/c]
Dir. Robert Mulligan D.P. Freddie Francis
Discussion led by: John Rice
Regardless of your opinion of The Man in the Moon as a film, it is undeniable that it's photography is nothing short of stunning. The composition is always interesting, dynamic and creative, the lighting has an almost fantasy look, and the colors have a rich and lush quality that I usually only expect from the classic Technicolor films of the past.Link RemovedKlute
Dir. Alan J. Pakula D.P. Gordon Willis
Discussion led by: PatrickL
A highly unique detective thriller that manipulates film noir conventions to explore social issues, "Klute" is especially outstanding for Gordon Willis' distinctive cinematography. It is a fine example of Willis' genius, demonstrating how he can make bold and unusual photographic choices with light and with composition, and still remain rigorously attuned to creating the cinematography that best expresses the story.Link RemovedOliver Twist (1948)
Dir. David Lean D.P. Guy Green
Discussion led by: Agee Bassett
Oliver Twist is a milestone in black-and-white movie photography as an expressive medium. A superbly stylish exercise in the use of monochrome, light, shadow, form, texture, shape, composition and motion as character analysis and dramatic storytelling, Guy GreenÕs phantasmagoric visions bring to vivid and controversial life the dark, violent overtones eschewed by other, more timid film adaptations of DickensÕ work. Selected by film and David Lean scholar Alain Silver as a textbook illustration of Andre BazinÕs Three Forms of Cinematic Reality.Link RemovedOut of Sight
Dir. Steven Soderbergh D.P. Elliot Davis
Discussion led by: Seth Paxton
Link RemovedVertigo
Dir. Alfred Hitchcock D.P. Robert Burks
Discussion led by: George Kaplan
Vertigo is a film with that classic stylized Hitchcock/Robert Burks look that mark his classic fifties color films. It is also innovative, including the 'vertigo' effect itself, later used in other films (such as Jaws). And thanks to the Harris/Katz restoration, we can see this beautiful film the way it originally looked.[/c]
