American Cinematographer - May 1986 - 40

changed: it is

who have changed and the world

Above: Al Christie

not

(with raised hand)

we

directs

In a sense Iris Barry spoke for the
of filmgoers. Memories play tricks - the
golden glow of nostalgia colors our perceptions and
there is a longing for the "good old days." But through
motion pictures and recordings those "pieces of time"
were trapped like an insect in amber, and it was an
unsettling experience. The past of the imagination met
head on with the past of reality, and the past of the
imagination was found wanting.
In the late 1950's when Elvis Presley
and Rock & Roll were revolutionizing American enter¬
tainment the major studios released their pre-1948
sound films to television. With hula hoops and big-fin¬
ned cars and pedal pushers all around, the clean lines of
art modernc architecture and cars with running boards
and bra-less women in form-clinging evening gowns
seemed incredibly quaint and remote.
"How long after you started making
pictures," Bogdanovich asked John Ford in 1966, "did
you come to feel that what you were doing was some¬

a scene at

Nestor-Universal

Studio,

corner

first generation

of

Sunset and Gower-

first studio in

Hollywood. Anton
Nagy cranks camera;
Gilbert Warrenton

(later A SC), standing
at

far

right, is

assistant
cameraman.

Circa

1912. Below: Plush
Warner

Hollywood

Theatre in 1929

premiering Fanny
Brice in her

"Singing - Talking
Vitaphone" debut,
My Man.

and old films. But

to

hear the discs and

see

the films

again is not to recall one's past; that is achieved better by
pure recollections of past music and past movies. Actu¬
ally to hear and see again what pleased one so much in
music or photographic imagery is, rather, to get a sharp
critical slant on one's own past. That was what one
enjoyed ten years ago; this is what seemed the most
exciting or beautiful thing in one's adolescence. Cabiria

thing important?"
"Well, that's a presumption 1 can't
accept," said the veteran director. "I've always enjoyed

and Male and Female and 'I Must Have That Man' have

38

we

live in."

American

Cinematographer

May 1986



American Cinematographer - May 1986

Table of Contents for the Digital Edition of American Cinematographer - May 1986

American Cinematographer - May 1986 - 1
American Cinematographer - May 1986 - 2
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