Norris Pope
- Published in print:
- 2013
- Published Online:
- March 2014
- ISBN:
- 9781617037412
- eISBN:
- 9781621039280
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617037412.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter describes the use of the Arriflex 35 in low-budget films. These include films such as Allen Baron’s Blast of Silence (1961), Herk Harvey’s Carnival of Souls (1962), and George Romero’s ...
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This chapter describes the use of the Arriflex 35 in low-budget films. These include films such as Allen Baron’s Blast of Silence (1961), Herk Harvey’s Carnival of Souls (1962), and George Romero’s Night of the Living Dead (1968). Skill with an Arriflex also launched the careers of a number of important cinematographers, most famously, Vilmos Zsigmond and Laszlo Kovacs.Less
This chapter describes the use of the Arriflex 35 in low-budget films. These include films such as Allen Baron’s Blast of Silence (1961), Herk Harvey’s Carnival of Souls (1962), and George Romero’s Night of the Living Dead (1968). Skill with an Arriflex also launched the careers of a number of important cinematographers, most famously, Vilmos Zsigmond and Laszlo Kovacs.
Jon Towlson
- Published in print:
- 2016
- Published Online:
- February 2021
- ISBN:
- 9781911325079
- eISBN:
- 9781800342194
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781911325079.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter presents a detailed analysis of Steven Spielberg's Close Encounters of the Third Kind (1977). The long take is a Spielberg staple: examples exist in each of his films, but it is an ...
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This chapter presents a detailed analysis of Steven Spielberg's Close Encounters of the Third Kind (1977). The long take is a Spielberg staple: examples exist in each of his films, but it is an aspect of his work rarely commented upon, possibly because his plan séquences are characterised by their very invisibility. The effect of the long take on the viewer is to draw them into the scene, increasing emotional involvement; and this reflects Spielberg's essentially intuitive approach to filmmaking. Arguably, the plan séquence shots in Close Encounters are some of the most effective of Spielberg's career for this reason. The chapter then looks at Spielberg's collaboration with Hungarian-born cinematographer Vilmos Zsigmond on Close Encounters, which links Spielberg interestingly to the New Hollywood of the 1970s. It also explores the characters and themes of the film, as well as John Williams' contribution to Close Encounters.Less
This chapter presents a detailed analysis of Steven Spielberg's Close Encounters of the Third Kind (1977). The long take is a Spielberg staple: examples exist in each of his films, but it is an aspect of his work rarely commented upon, possibly because his plan séquences are characterised by their very invisibility. The effect of the long take on the viewer is to draw them into the scene, increasing emotional involvement; and this reflects Spielberg's essentially intuitive approach to filmmaking. Arguably, the plan séquence shots in Close Encounters are some of the most effective of Spielberg's career for this reason. The chapter then looks at Spielberg's collaboration with Hungarian-born cinematographer Vilmos Zsigmond on Close Encounters, which links Spielberg interestingly to the New Hollywood of the 1970s. It also explores the characters and themes of the film, as well as John Williams' contribution to Close Encounters.
