Beteiligte: | |
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In: | Film History: An International Journal, 22, 2010, 4, S. 479-487 |
veröffentlicht: |
Indiana University Press
|
Medientyp: | Artikel, E-Artikel |
Umfang: | 479-487 |
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ISSN: |
0892-2160
1553-3905 |
DOI: | 10.2979/filmhistory.2010.22.4.479 |
veröffentlicht in: | Film History: An International Journal |
Sprache: | Englisch |
Schlagwörter: | |
Kollektion: | sid-55-col-jstorfilm sid-55-col-jstoras5 JSTOR Film and Performing Arts JSTOR Arts & Sciences V Archive |
<title>Abstract</title> <p>Toward the end of the First World War, film magazines began to identify cameramen as artist-creators, and as the new right-hand men of film directors. Their gradual emergence from anonymity testifies to this new and improved status, which contrasts with the scant recognition accorded to cameramen prior to the conflict. In the course of four years of war, the way in which film-studio cameramen were perceived underwent a profound change. This article examines the details of this progressive transformation, culminating in 1918 when the name of a cameraman, Léonce-Henry Burel, first appeared in the credits of a French film (Abel Gance's<italic>La Dixième Symphonie</italic>).</p> |