Abstract
This paper discusses the role of cinematography in 1930s Hollywood cinema. It looks at the functions of the cinematographer and changes in the 1930s that changed the nature of films and the film industry. The paper looks at the development of the technicolor process and technological developments such as new lenses that fostered new cinematographic techniques. The paper looks at examples of specific films and notable cinematographers.

Tags:films, cinematography, 1930s.

Abstract
This paper compares and contrasts the horror movies of the 1940s and 1950s with today's plethora of gore and mayhem. The paper suggests that these previous films have greater cinematography and creativity than the bombardment of today's high tech industry. The paper provides examples of films from both time frames and looks at the plot and character development of the films.

From the Paper
"In contrast to this film, The Horror of Dracula is strikingly different. The highlighting effect that emotionally drew in the audience is the films underscore. The musical development of the film as it fits with key scenes allows the film to transcend the genre of horror and allows it to be at once horror, tragedy, and surprisingly romantic. The musical underscore tied the characters together in a love triangle and even without the films marked up-angle shots of the monster and the castle angles, the films music make a definite impression. The association between the monster and the music is completely riveting. Although music is used in horror films today their portrayal is mixed with a rock star atmosphere (as mentioned in the club scene in Blade), or the fact that the film wants to associate with the younger generation and so places guitar riffs into the action scenes. This effect merely produces a lot of hype that does nothing to replace the character development and scene development that a truly great musical score (as is witnessed in The Horror of Dracula) can bring to a picture (Internet Zombie Production)."

Tags:scene, gore, audience, production

Abstract
In this paper, the writer studies the cinematography elements in 'Casablanca'. The writer discusses that the lighting on Bergman's face reveals her role as the central female romantic interest, as Curtiz often has her face framed in close up shots that define her beauty and seductive power. Also, the writer notes that the low-key illumination of light and shadow of the film reflect the classical film noir style that often provided sharp contrast that reflected the characters in the film often-turbulent relationships.

Tags:film, cinema

Abstract
This paper will analyze the cinematography of Wedigo Von Schultzendorff in Woody Allen's movie "Hollywood Endin"g. By showing his usage of coloring, scene shooting and location, we can understand how Schultzendorff portrays a romantic comedy under Allen's direction.

Abstract
This paper discusses the montage theory of Sergei Eisenstein and his influential role in film history and cinematography.

Abstract
This paper examines the film, "Blue Velvet," directed by David Lynch. Specifically, it discusses mise-en-scene and cinematography in the film. It looks at how David Lynch is a master of the film noir, dark and brooding types of films that disturb, disquiet, and titillate, all at the same time, and how "Blue Velvet" is no exception. It discusses how the film is part blue porn flick, part girl-next-door love story, and part sadistic kidnapping, and how the elements all blend together to form a cohesive whole because of Lynch's masterful use of mise-en-scene staging and cinematography. "Blue Velvet," even with its happy ending, leaves the viewer wanting more, somehow and that, too, seems to be just what Lynch intended.

From the Paper
"Mise-en-scene is a French term describing the "director's text" or staging of a film, and in "Blue Velvet," David Lynch's intricate and often surreal staging is an integral part of the film. He arranges space and time in the film with such dark and dreamlike qualities that the film can be nothing more than memorable and yet quite disturbing at the same time a true mark of Lynch's film and a tribute to his mise-en-scene. The most compelling visual motif in the film is of course the color blue. Lynch stages action around the color to keep it always in the memory of the viewers. The film opens with a sensuous scene of blue velvet fabric undulating on the screen, the theme continues from the background music to the clearly blue cigarette smoke issuing from the cigarettes of the characters, and in fact, Dorothy, the nightclub singer and sado-masochist, is known as "The Blue Lady" in her act."

Tags:love, story, porn, blue, mise-en-scene, cinematography

Abstract
This paper is on how most films exist on the stories of good versus bad. The special effects in films help make the story more real and gives life to the film.

Abstract
This paper discusses and reviews director Guy Ritchie's 2000 film, "Snatch." The paper first discusses the plot of the film and the casting of the characters. It then looks at how the film's dialogue contributes to the satirical comedy. The skillful way that the cinematography capture the locations in a way that supports and adds to the film's satire is also examined.

Table of Contents:
Casting
Screenplay Dialogue
Cinematography

From the Paper
"There are a lot of tight and difficult camera shots in the film, where the cameraman has to work fast. In other scenes, the wider and expansive pans of open scenery, like at the gypsy camp, creates the sense of place that the director is attempting to convey to the audience in order to support the satirical elements of the film. The close shots are reserved for the emphasis of innocence, in Tommy and Turkish, and the deadliness of Boris, Tony, and Brick Top. Brick Top's yellowed teeth stand out whenever the character is involved in one of his many fast paced diatribes of dialogue."

Tags:camera, plot, characters, casting

Abstract
This paper analyzes how cinematography and imagery are used in the Joel Schumacher film "A Time To Kill." This is based on the Grisham novel to convey meaning in a symbolic manner with respect to racism, hatred and justice.

From the Paper
"The study of film permits an examination of connotation, the inherent meaning in cinematic images. Such a study of connotation illustrates the concept. Christian Metz establishes film as an art form, unique from any other. In Joel Schumacher's "A Time to Kill" we see that cinematography is used to help tell the story, establish pacing and convey such inherent meaning through images."

Tags:murder, vigilante, lawyers, blacks, South, rape, seventh art, innocence, prejudice

Abstract
Many different elements of cinematography as used in the film "Being John Malkovich" are examined in this paper. These elements include lighting, mise-en-scene, framing and the physical appearance of the characters. The paper focuses on the character of Malkovich himself and the changes that become apparent after Craig takes over his body.

From the Paper
"In the 1999 feature film Being John Malkovich by director Spike Jonze, the narrative structure is an important constituent of the story. This film raises questions about the nature of identity and explores the idea that some people are only completely free when their true self is hidden either behind a mask or beneath a costume. This main theme is conveyed through the combination of the film's mise-en-scene, cinematography, and editing. It is these three elements which work together to deliver the message of the film and form the narrative slant."

Tags:aesthetics, framing, lottie, Spike, Jonze