American Cinematographer - January 1987 - 58

Photos

by Kerry Nordquist and Roberto McGrath

Effects, Mattes, Models for

The Golden Child
by Ron Magid
While the

tions, while limiting the ability to

ever more

tell the story cinematically. No¬
where has this deficiency been
more noticeable than in the field
of stop-motion animation, a tech¬

increasing demand for
sophisticated special ef¬
fects extravaganzas have honed
the craft to a fine pseudo-scientific
edge, the films themselves, with
few exceptions, have remained
stylistically wanting. Because the
camera was virtually held captive,
locked down, a helpless spectator
recording the action but not par¬
ticipating in it, the special effects
film has perversely been capable of
transporting
limits of the

audience to the
filmmakers' imagina¬
an

nique which early in cinema his¬
tory hit its peak in films like King
Kong and Mighty Joe Young - the
work of master animator Willis
O'Brien. Later efforts by the likes
of Ray Harryhausen and Jim Danforth have also advanced the tech¬

American

Cinematographer

by Industrial Light and
Magic, is a cinematic blend of
stop-motion animation with live
foreground and background ac¬
tion. It was ILM who first opened
up the ever burgeoning field of
special visual effects with revolu¬
tionary work in Star Wars, and in
the decade since, have continued
to

push the limits of this demand¬

ing filmmaking

arena.

Taking all of

niques of stop-motion animation,

their contributions into considera¬

has still remained

tion, returning control of films to

but the

camera

virtually static.

56

The Golden Child, with

effects

January 1987



American Cinematographer - January 1987

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