I am reviving this thread in preparation for the second discussion, which is starting soon http://www.hometheaterforum.com/htforum/showthread.php?s=&postid=1605575#post1605575The 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 its 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.Klute 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.Oliver 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.Out of Sight Dir. Steven Soderbergh D.P. Elliot Davis Discussion led by: Seth Paxton Soderbergh is a hands-on director and this shows in that while the cinematographers change from film to film, the visual style in each film does not. Thus while Traffic was known for it's "city based" color schemes we had already seen it before in Out of Sight. However, it's more than just locations or temperatures being displayed, it's moods. Along with that are excellent examples of his ability to mix steady-cam shots with fixed or tracking shots, long shots and medium close-ups, and of course freeze frames on scene transitions. In short, Out of Sight is perhaps the best "definitive" example of all of Soderbergh's work.Vertigo 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] This list is not in any particular order, since we will be deciding the order as we go. The first film, though, will be The Man in the Moon which will be started soon. I want to thank Agee, Patrick, Seth and George for agreeing to be part of this. This has taken quite a bit of work from all of them to get done. I also want to thank Parker Clack and Vince Maskeeper. Vince was fundamental in providing the code so this post would look the way I wanted it to. Parker has tolerated my constant questions and pestering with a great deal of grace, and has just been generally helpful. Coming up is: The Man in the Moon and hopefully lots of lively discussion. Tell all your friends!