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In this three-part book-length study of the work of Gregg Toland,
Philip Cowan explores approaches to co-authorship in collaborative
filmmaking to propose new ways of identifying, attributing, and
evaluating the creative work of cinematographers. In the first part
of the study, Cowan challenges the dominant, director-centered
auteur approach to film studies, critiquing the historical
development of authorship theory and providing a contemporary
analysis of the cinematographer's authorial role in creating images
that communicate meaning through content and construction. By
synthesizing and updating the work of previous film theorists to
define the complexities of composition, movement, and lighting in
the second part of the study, Cowan develops a new, comprehensive
taxonomy of functional and aesthetic elements of the moving image.
Finally, by using the co-author approach and the analytical tools
developed in part two of the book, Cowan provides an in-depth
re-examination of Toland's work, highlighting the historical
neglect of the cinematographer's artistic contribution to
filmmaking and developing a fresh approach to the analysis of
contemporary cinematography in film.
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