William Darby - Masters of lens and light: a checklist of major cinematographers and their feature films
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Masters of lens and light: a checklist of major cinematographers and their feature films
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Masters of Lens and Light offers filmographies for more than seven hundred American and world cinematographers from 1915 through 1990. These figures range from the renowned (Gregg Toland) to the productive if obscure (Ernest Miller). There are approximately thirty photos, as will as an extensive list of notable American and foreign films by cinematographers whose outputs were not large or significant enough to warrant separate entries.
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A Checklist of Major Cinematographers and their Feature Films
By William Darby
Page ii
British Library Cataloguing-in-Publication data available
Library of Congress Cataloging-in-Publication Data
Darby, William, 1942 Masters of lens and light : a checklist of major cinematographers and their feature films / by William Darby. p. cm. Includes bibliographical references and index. ISBN 0-8108-2454-X (alk. paper) 1. Motion picturesCatalogs. 2. CinematographersCredits. I. Title. PN 1998.D285 1911 011'.37dc20 91-20656
Copyright 1991 by William Darby Manufactured in the United States of America
Printed on acid-free paper
Page iii
Dedicated to the memory of my mother
Page v
Contents
Acknowledgments
vii
Preface and Bibliographic Note
ix
Introduction
xv
Key to Abbreviations
xxv
Major Cinematographers and their Feature Films
1
Appendix I: Cinematography Awards
741
Film Title Index
761
Page vii
Acknowledgments
I would like to thank my brother-in-law, Thomas R. Panzenhagen, who, however unwittingly, triggered my initial interest in this subject. Claire Brandt and Heidi Brandt of Eddie Brandt's Saturday Matinee were most helpful in unearthing the illustrations that accompany the text.
Since any compilation of this size is likely to be incomplete despite the best of my intentions, I would welcome hearing from interested parties as to errors of omission or commission. It is hoped that the present list can be augmented and enlarged to provide an even better factual basis for this relatively neglected area of film scholarship.
I would, finally, like to dedicate the present work to the memory of my mother, Dorothy H. Darby (1919-1977), whose enthusiasm and capacities for painstaking genealogical research made her a model to emulate.
WILLIAM DARBY DETROIT, MI
Page ix
Preface
This book sets forth the credits of more than seven hundred cinematographers. These entries include only the feature-length (at least 45 minutes) films of individuals who are credited as principal or co-principal photographer on at least five works. (I have made two exceptions to this rule by including the entries for Edwin S. Porter and Ernest Schoedsack, pioneer figures who deserve separate entries.) The greater number of these cinematographers worked primarily in American films, but I have also included notable figures from Great Britain, France, Germany, Italy, Sweden, and the USSR. All individual entries have been alphabetized and numbered for ease of reference and Index retrieval. Each film title within a particular cinematographer's filmography is also entered alphabetically and accompanied by its year of release and some production information: country of origin and major studio affiliation. An asterisk (*) following a film title indicates that more than one cinematographer was involved with the production. I have used abbreviations for much of the production data and the reader will find a key to them on page xxv.
A typical entry is as follows:
FRANK STANLEY
The Big Fix 1978 Univ.
Here the title is followed by the year of release and the name of the studio which released the film (Universal). No country of origin is included when the film comes from a major US or international producer (e.g., Cannon, DeLaurentiis).
Page x
A more involved entry is as follows:
ERNEST STEWARD
Above Us the Waves 1955 GBRank/Rep.
Here, after the title and year of release, one finds the country of origin (Great Britain) followed by the studios that were involved with the film both in that country (Rank) and in the United States (Republic). I have used dashes () to separate countries from studios, even when the studio is in that country. Slashes (/) separate countries, if a film has been produced by various nations, or studios, when more than one is involved, as in the second example above.
A lengthy miscellaneous section includes entries for notable films that are not included among the works of major cinematographers (e.g., American Graffiti ) as well as cinematographers who have either not produced enough significant work to be included in that group or emerged with major credits only during the past two or three years. I have also used this miscellaneous section to list significant foreign films, particularly from Japan and the Soviet Union, that might be of interest to an American audience. The format for this entire section is slightly different in that all entries are listed alphabetically by title, followed by their production information in parentheses, and then by the name(s) of the cinematographer(s) involved in the production. Once again, I have used dashes to set off the country of origin from the studio; and I have employed slashes to separate countries and/or studios when there are more than one for an individual film.
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