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Full Description
Devoted to his craft--sometimes to the detriment of his reputation--cinematographer John Alton (1901-1996) was sought after by such directors as Vincente Minnelli, Richard Brooks and Anthony Mann but was disdained by others of comparable talent. An auteur in the truest sense, Alton established a landmark body of work described by Variety film critic Todd McCarthy as "The essence, and ultimate example, of film noir ... logically created by a cinematographer, not a director." This collection of new essays by filmmakers and film scholars explores the central role Alton's distinctive style of "painting with light" played in formulating the aesthetics of noir, as well as his contributions to other genres.
Contents
Table of Contents
Acknowledgments
Introduction: The Poetics of the Director of Photography's Palette
LEON LEWIS
John Alton: A Filmography
Argentine Period
TODD MCCARTHY
American Period
DENNIS JAKOB
Women (Good and Bad) in the Later Films of John Alton
TONEY FRAZIER
Portrait of an Auteur Framed in Shadow
SARAH E. DAVIS
Mimesis, Mode and Method: John Alton's Film Noir
A.B. ADCOCK
The Observer Observed: John Alton and Vincente Minnelli
and the Domestic Domain
KC CLEMENS
O Master, When Art Thou? The Anemia of Production
Memory and the Failed Promise of the Digital Revolution
JEFFREY P. MARTELL 89
Alton and the Western: Re-Mapping the Terrain
TOM WALLIS
Farm Noir: Agriculture, Empathy and Genre in The Grapes
of Wrath and Border Incident
ZACKARY VERNON and JESSICA L. MARTELL
Light is Life, Darkness Death: Light and Darkness in Raw Deal
BRIAN FAUCETTE
About the Contributors
Index
