American Cinematographer - December 1999 - 96

A Brief History of British

(inematography

Where did
MICHAEL MANN, TAK FUJIMOTO, ROGER PRATT,
HOWARD ATHERTON, MARK GOLDBLATT &
go

to FILM SCHOOL

CURTIS CLARK

...

and which FILM SCHOOL is the oldest in the U.K.?

Which FILM SCHOOL has trained students from

more

than 80 countries?

Which FILM SCHOOL is in the heart of Central London?

Which FILM SCHOOL offers work

on

at least 6 films in two

years?

Which FILM SCHOOL includes two 35mm films in the Curriculum?

Which FILM SCHOOL is

a

The introduction of Eastman
color

question
...

approximate the loo c of old whaling prints.
to

not-for-profit educational charity?

finally broke th ; Technicolor
monopoly in the early 1950s; the last
British feature to use tie three-strip
process was shot in If 55. Although
Eastman color had

problems, it opened u{ > new creative
possibilities for color cinematography. In particular, the horror genre
was
given a new lease on life with the
use

LONDON
INTERNATIONAL
FILM SCHOOL

THE

answer

For full details of the two-year,
CALL: +44 171 836 9642
OR Write to

or

full-time DIPLOMA COURSE:-

FAX: +44 171 497 3718

or

E-AAAIL:

Dept. AC 10, The London International Film School, 24 Shelton Street, London WC2H 9HR U.K.

OR LOG ON TO OUR WEB PAGES AT:

www.lifs.org.uk where

you can

of color in Hamn

find complete details of the Syllabus,

Fees, Application and Enrolment. There is a convenient form for requesting a Prospectus Pack as well as
News Items, details of Graduates' work and an Ex-students' Contact Group.

er

Films' The

Horror

Curse

of Dracula, The Mummy, The
of Frankenstein a nd other titles.

The studio's senior

capieraman

was

Jack Asher, BSC, whc adopted an

expressive yet economiccal approach
to his often ghoulish s i bject matter,
coloi

Eastman

lifs@dial.pipex.com

ain technical

also

was

manipulated to providi

a

grubby

seediness for conterrp orary films
such as Sapphire, Basil Dearden's tale
of racism in London, ]

>hotographed
by Harry Waxman,,BSC and Peeping
Tom, Michael Powell's chilling study
of pathological voyeu ism, shot by
,

Otto Heller.
At the other

en<.

of the scale,

negat rive also facili-

single-strip color
tated the developm

nt

of

new

widescreen systems, Ah attempt to
reinvest the cinema w th a sense of

spectacle (a

Why settle for inconsistent grays,

ana

uneven,

systems were

crooked or

production

filters are available now.

*

Water-white, clear optical glass

*

Precision ground and polished
Flat and parallel for use
with even the longest lenses
Hard or soft edge blends

*

*

*

4"x

4", 4"x 5.650" Horizontal

and Vertical, and 6.6"x 6.6"

Table, photographed

1953

by

Freddie Young.

Indeed, most of the U.K.'s

Schneider wsflliwa
285 Oser Avenue,

'Scope productions of tie 1950s were
by Hollywc > od studios,

funded
Hauppauge, l\IY 11788 USA

TEL: +1 516 761-5000

*

FAX: +1 516 761-5090

email:

info@schneideroptics.com
http://www.schneideroptics.com

IND QUALITY
92

adoptejd by British

soon

introduced in

Amazing uniformity and
pure gray Neutral Density
Consistent true neutral gray

declining

after hey had been
AmeriJ:;:a. The first
British film shot in
InemaScope
was MGM's
Knights rf the Round

mismatched grad lines?

*

response to

audiences and the pe ceived threat
posed by television), all of these

Among the more inter esting are the
operetta Oh Rosalin.lla!, shot by
Christopher Challis, B;vers, shot by
Jack Hildyard and Frhotographed
American Cinematographer - December 1999

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