By Norris Pope
This quantity presents a heritage of the main consequential 35mm movie digicam brought in North the US within the region century following the second one international warfare: the Arriflex 35. It lines the North American background of this digital camera from 1945 via 1972--when the 1st light-weight, self-blimped 35mm cameras turned available.
Chronicle of a Camera emphasizes theatrical movie construction, documenting the Arriflex's more and more vital position in increasing the diversity of construction offerings, types, or even content material of yankee films during this interval. The book's exploration culminates such a lot strikingly in examples present in function movies courting from the Nineteen Sixties and early Seventies, together with a couple of motion pictures linked to what got here to be referred to as the "Hollywood New Wave." the writer exhibits that the Arriflex triggered very important innovation in 3 key components: it enormously facilitated and inspired place taking pictures; it gave cinematographers new thoughts for intensifying visible variety and content material; and it inspired low cost and autonomous creation. motion pictures during which the Arriflex performed a completely crucial function contain Bullitt, The French Connection, and, most importantly, Easy Rider. utilizing an Arriflex for car-mounted photographs, hand held pictures, and zoom-lens pictures ended in better cinematic realism and private expression.
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Additional resources for Chronicle of a Camera: The Arriflex 35 in North America, 1945-1972
56 Perhaps the most ironic example of the use of an Arriﬂex in a supplementary role in Hollywood during the 1950s dates from 1959 and the ﬁlm The Diary of Anne Frank. Directed by George Stevens and shot in Cinemascope by William Mellor—who won an Academy Award for his achievement—the ﬁlm was primarily a studio production, made at Twentieth-Century Fox. Despite the soundstage setting, however, the attic set where Anne hides from the Nazis was quite cramped, with the result that Mellor turned to an Arriﬂex for a number of the shots taken within it.
53 It turns out that Lean had relied on an Arriﬂex in constrained circumstances before: at the end of the production of Summertime (1955), a ﬁlm starring Katharine Hepburn, which was again shot by Hildyard and Newbrook. In this case, most of the ﬁlm was shot on location in Venice. 55 Resorting to an Arriﬂex when no studio camera was available was an obvious solution to an immediate problem. But what about more deliberate choices? A revealing perspective on early Arriﬂex use in Hollywood is furnished by Arthur Penn, in comments about his ﬁrst ﬁlm, The Left-Handed Gun (1958).
All other cameras have a parallax problem which particularly applies to close shots such as hands before the camera and inserts. ” This memo, apparently prepared by Daves himself, was written after some testing had taken place for some of the shots planned for the ﬁlm; it discusses various problems and considerations for ﬁrst-person camera work. It begins with the issue of walking shots: 19 20 Advantages of Portability Actually, a man walking sways as he steps from one foot to another and, to a certain degree, rises and falls with each step.