Ideology And Cinematography In Hollywood: 1930-1939Hollywood films of the 1930s are frequently treated as if they all conformed to one cinematographic style. This book shows that this was not the case and describes the various stylistic changes in the use of the camera and lighting which took place during the decade. These changes did not, of course, occur in a vacuum and the ideological conditions in which the films were made is shown to be a crucial factor in explaining these changes. |
Contents
Ideology and Cinematographic Style | 9 |
All Quiet on the Western Front | 27 |
The Early Thirties | 44 |
6 | 52 |
Dr Jekyll and Mr Hyde | 61 |
16 | 64 |
21 | 72 |
The New Deal in Hollywood 193335 | 79 |
The Awful Truth | 93 |
30 | 100 |
The Restrained Style 193638 | 109 |
Dead End | 123 |
The End of the Decade | 138 |
Conclusion | 152 |
64 | 158 |
| 161 | |
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Common terms and phrases
ambiguity angled shots audience Awful Truth background becomes Bordwell camera angle camera distance camera movement camera moves changes character movement Cinema cinematographic style codes conventional crane shot dark Dave Dead End decade deep focus direct shots direct to camera dominant ideology Dr Jekyll earlier early thirties economic effect elements emphasise example extreme fairly film noir Film Style film's final follows foreground frame Goldwyn high angle high-angle shots high-key lighting Hollywood films Hyde Ibid ideological Jekyll Jekyll's Jerry linked London looking low angles low-angle shots low-key lighting Lucy montage sequence Movie Muriel narrative noted pans round Paramount particularly period point of view production reframing restrained style Scarlett scene screwball comedy seen sequence shadow signifies silhouette social static structure studio stylistic sub-codes subject position tracking shot travelling shots United Artists unmotivated Valjean viewer Viva Villa Warner Brothers Western Front William Wyler Wyler