well before German Expressionism, Keating points up the self-awareness behind exaggerated lighting effects in such films as The Cheat (1915) and Stella Maris (1918). He claims cinematographers Alvin Wyckoff and Walter Stradling saw nothing unusual in making the lighting design obtrusive if it met the expressive requirements of a scene. Keating does not treat invisibility and illusionism as mechanically applied, strictly enforced, and ideologically suspect rules; instead, he gives us the perspective of the practitioners, who saw these as two of several aims which they could fulfill or de-emphasize, depending on the situation. A shot/reverse-shot sequence in The Most Dangerous Game (1932) illustrates this creative liberty: Leslie Banks and Joel McCrea stand next to one another in the story world, but âlook like theyâre in completely different filmsâ (174) on the level of brightness, contrast, tone and directionality. Banks, lit hard from below, appears in opaque nocturnal shadows befitting his villainous character; McCrea, lit softly for glamour, looks like he could be standing in the transparent shade of a sunny afternoon. Keating distinguishes cinematographic styles not by romantically pitting rule-flaunting artistic rebels against conventional mechanics, but by asking whether a cinematographer balances the demands of storytelling, realism, glamour,
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Analysing the Screenplay
Jaeckle, Jeff
Follow Film Quarterly
, Volume 65 (2)
University of California Press – Dec 1, 2011
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