By Gary Westfahl
This ebook gathers jointly the various illuminating essays on technology fiction and fable movie penned by means of a big critic within the SF box. The items are approximately geared up within the chronological order of while the films and tv courses being mentioned first seemed, with essays supplying extra common overviews clustered close to the start and finish of the quantity, to supply the final air of secrecy of a ancient survey. even if this publication doesn't fake to supply a finished background of technological know-how fiction and myth motion pictures, it does intermingle analyses of movies and television courses with a few discussions of similar performs, novels, tales, and comedian books, fairly within the essays in this Island Earth and 2001: an area Odyssey and its sequels. Inciteful, interesting, and entire of clever and witty observations approximately technology fiction and its occasionally curious courting with the visible media, those essays will either satisfaction and entertain critics, fanatics, and audience alike.
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Additional info for A Sense-of-Wonderful Century: Explorations of Science Fiction and Fantasy Films
The portrait of Lucile Cavanaugh (fig. 6) uses a similar lighting scheme, but it has been adjusted to a top-front-side position, allowing the area from the forehead to the cheek to the chin to be rendered as one smooth plane. Compare Genthe’s work to the work of Victor Georg, another Vanity Fair regular. Like Genthe, Georg tends to soften all his portraits. However, Georg is less likely to move his key-light to construct difference; instead, Georg uses contrast and tonality. 5 The top-light models the features of Ignace Paderewski, in a portrait by Arnold Genthe.
Overall tonality. Overexposing a woman’s face is one way to smooth out lines. ” 38 From the Portrait to the Close-Up 5. Lens diffusion. Using soft lenses or placing gauze over a lens softens the image, with predictable results to expression and emphasis. 6. Lens focus. Even when not working with a specially designed “soft” lens, a photographer could choose to throw a woman’s face out of focus, thereby smoothing out lines. Used in another way, the technique can also add character to a picture of a man: by softening other areas of the frame, a photographer could draw attention to a sharply focused, well-lined face.
Rather, and perhaps even more striking: if Goss’s statements seem to be outside the norms, this might be because we need to revise our understanding of the norms themselves by acknowledging that they were more eclectic than we usually suppose, at least during the formative years of the ASC. During the 1920s American Cinematographer did more than any other publication to articulate the norms of Hollywood cinematography. From 1922 to 1927 this journal was edited by a man who believed that cinematographic imagery at its best was designed to be noticed.