Building on the success of the bestselling "Master Shots," this volume goes much deeper, revealing the great directors' secrets for making the most of the visual during the usual static dialogue scene. Includes more than 200 diagrams illustrating camera positions.

The camera's movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

Over 60 years since the legendary cooperative photographic agency began, the Magnum photographers have borne witness to some of the most important moments in cultural history, recording the making of many of history's classic films. "Magnum Photographers on Film Sets" takes readers behind the scenes of cinematic masterpieces including Charlie Chaplin's "Limelight" (with W. Eugene Smith), Billy Wilder's "The Seven Year Itch" (with Elliott Erwitt), Nicholas Ray's "Rebel Without a Cause" (with Dennis Stock), Orson Welles' "The Trial" (with Nicolas Tikhomiroff), John Huston's "Moby Dick" (with Erich Lessing), Joseph L. Mankiewicz's "Suddenly, Last Summer"(with Burt Glinn), Andrzej Zulawski's "L'important c'est d'aimer"(with Jean Gaumy), Michelangelo Antonioni's "Zabriskie Point" (with Bruce Davidson) and Volker Schlondorff's "Death of a Salesman" (with Inge Morath). The publication features both classic and rarely seen photos of Hollywood's finest such as Montgomery Clift, James Dean, Clark Gable, Katharine Hepburn, Charlton Heston, Dustin Hoffman, Buster Keaton, Klaus Kinski, John Malkovich, Marilyn Monroe, Gregory Peck, Anthony Perkins, Elizabeth Taylor, John Wayne, Natalie Wood and many more. "Magnum Photographers on Film Sets" reveals an unusual side to the activities of the agency's photographers, and reminds us of their ubiquity in postwar culture.

Due to its ability to freeze a moment in time, the photo is a uniquely powerful device for ordering and understanding the world. But when an image depicts complex, ambiguous, or controversial events--terrorist attacks, wars, political assassinations--its ability to influence perception can prove deeply unsettling. Are we really seeing the world "as it is" or is the image a fabrication or projection? How do a photo's content and form shape a viewer's impressions? What do such images contribute to historical memory? About to Die focuses on one emotionally charged category of news photograph--depictions of individuals who are facing imminent death--as a prism for addressing such vital questions. Tracking events as wide-ranging as the 1906 San Francisco Earthquake, the Holocaust, the Vietnam War, and 9/11, Barbie Zelizer demonstrates that modes of journalistic depiction and the power of the image are immense cultural forces that are still far from understood. Through a survey of a century of photojournalism, including close analysis of over sixty photos, About to Die provides a framework and vocabulary for understanding the news imagery that so profoundly shapes our view of the world.

The camera's movement in a film may seem straightforward or merely technical. Yet skillfully deployed pans, tilts, dollies, cranes, and zooms can express the emotions of a character, convey attitude and irony, or even challenge an ideological stance. In The Dynamic Frame, Patrick Keating offers an innovative history of the aesthetics of the camera that examines how camera movement shaped the classical Hollywood style. In careful readings of dozens of films, including Sunrise, The Grapes of Wrath, Rear Window, Sunset Boulevard, and Touch of Evil, Keating explores how major figures such as F. W. Murnau, Orson Welles, and Alfred Hitchcock used camera movement to enrich their stories and deepen their themes. Balancing close analysis with a broader poetics of camera movement, Keating uses archival research to chronicle the technological breakthroughs and the changing division of labor that allowed for new possibilities, as well as the shifting political and cultural contexts that inspired filmmakers to use technology in new ways. An original history of film techniques and aesthetics, The Dynamic Frame shows that the classical Hollywood camera moves not to imitate the actions of an omniscient observer but rather to produce the interplay of concealment and revelation that is an essential part of the exchange between film and viewer.

The Five C's of Cinematography is one of the three most important books on cinematic technique ever published -- American Cinematographer

Mr. Mascelli provides the attentive reader with the equivalent of a complete course in filmmaking. -- New York Times

The Five C's is the most widely respected book on cinematography ever published. With the aid of hundreds of photographs and diagrams, it clearly and concisely presents al of the essential concepts and techniques of motion picture camera work.

Used copies of this timeless, long-out-of-print volume, which was first published in 1965, have been fetching hundreds of dollars per copy from students and teachers of cinematography and filmmaking. Now it is published for the first time in a paperback edition.

The five C's, and some of the related subjects this book covers, are:

Camera Angles -- Objective, Subjective, Point-of-View, Subject Size, Subject Angle, Camera Height

Continuity -- Cinematic Time and Space, Filming Action, Master Scenes, Screen Direction, Transitional Devices

Cutting -- Types of Editing, Cross-Cutting, Cutting on Action

Close-ups -- Over-the-Shoulder, Cut-in, Cutaway

Composition -- Compositional Rules, Compositional Language, Types of Balance, Attracting or Switching the Center of Interest.