By Norris Pope
This quantity offers a background of the main consequential 35mm movie digicam brought in North the United States within the area century following the second one international battle: the Arriflex 35. It strains the North American background of this digital camera from 1945 via 1972--when the 1st light-weight, self-blimped 35mm cameras turned available.
Chronicle of a Camera emphasizes theatrical movie construction, documenting the Arriflex's more and more vital position in increasing the diversity of creation offerings, kinds, or even content material of yankee films during this interval. The book's exploration culminates so much strikingly in examples present in characteristic movies courting from the Nineteen Sixties and early Nineteen Seventies, together with a couple of motion pictures linked to what got here to be referred to as the "Hollywood New Wave." the writer exhibits that the Arriflex caused very important innovation in 3 key components: it significantly facilitated and inspired position taking pictures; it gave cinematographers new concepts for intensifying visible sort and content material; and it inspired not pricey and self sustaining creation. motion pictures within which the Arriflex performed a fully valuable function comprise Bullitt, The French Connection, and, most importantly, Easy Rider. utilizing an Arriflex for car-mounted pictures, hand held photographs, and zoom-lens photographs ended in larger cinematic realism and private expression.
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Extra info for Chronicle of a Camera: The Arriflex 35 in North America, 1945-1972
Much of this early portion of the ﬁlm was shot from the character’s viewpoint, employing a ﬁrst-person camera technique in which the images stood in for what the character supposedly saw. 18 Looking back on the ﬁlm later on, Delmer Daves recalled the diﬃculty he had in persuading Jack Warner to allow the project to go forward: When I turned in my May 24, 1946, draft of Dark Passage Jack Warner was startled to ﬁnd the camera was to be Bogart until page 17 18 Advantages of Portability 45—and then he was to be masked by head bandages through to page 77—and then he [Warner] got cold feet, said the exhibitors would accuse us of making a “fake Bogart” ﬁlm since he wasn’t seen as Bogart until page 77, so he called oﬀ the ﬁlm.
36 In fact, the Arriﬂexes did not turn out to be entirely trouble-free. “We got base scratches [on the ﬁlm negative] from the pressure plate,” Leacock reported, “so I found the ﬁnest polishing paper made and spent hours polishing . . Fine, but then when we tilted upward we sometimes got ‘breathing’ [inconsistent positioning of individual frames in the camera gate]. So we had a small button inserted in the middle of the pressure plate . . It worked. ”37 Despite these initial problems, any skepticism about using an Arriﬂex to shoot a feature ﬁlm proved entirely unwarranted: Louisiana Story was a beautifully shot ﬁlm, full of lyrical footage taken on location.
In most of these cases, the Arriﬂex served as a secondary camera for getting special shots—shots that would be diﬃcult, foolish, or even impossible to attempt with a studio Mitchell. For example, the Hollywood camera assistant Mervyn Becker recalled that Arriﬂexes were available at Universal early in his career there (which began in 1955). ”42 Individual examples of such use can certainly be found. In a February 1953 Arriﬂex advertisement, for instance, cinematographer William Clothier noted that he had used a 35mm Arriﬂex for some shots of F-86 ﬁghter jets that he ﬁlmed from a B-45 bomber for the RKO ﬁlm Jet Pilot (a ﬁlm not released until 1957).