FURTHER READING 557Toland, Gregg. “How I Broke the Rules in Citizen Kane.” In Focus
on Citizen Kane. 73–77. Ed. Ronald Gottesman. Englewood
Cliffs, N.J.: Prentice-Hall, 1971.
Cinematographic Properties of the Shot
Stock
Arnheim, Rudolf. Film as Art.Berkeley: University of California
Press, 1957.
Basten, Fred E. Glorious Technicolor: The Movies’ Magic Rainbow.
Cranbury, N.J.: Barnes, 1980.
Brakhage, Stan. Metaphors on Vision. New York: Film Culture,
1963.
Branigan, Edward. “The Articulation of Color in a Filmic System.”
Wide Angle1, no. 3 (1976): 20–31.
———. “Color and Cinema: Problems in the Writing of History.”
Film Reader4 (1979): 16–34.
Dalle Vacche, Angela, and Brian Price, eds. Color: The Film Reader.
London: Routledge, 2006.
De Grandis, Luigina. Theory and Use of Color. Trans. John Gilbert.
New York: Abrams, 1986.
Dreyer, Carl. “Color Film and Colored Films.” In Dreyer in Double
Reflection. 168–173. Ed. Donald Skoller. New York: Dutton,
1973.
Durgnat, Raymond. “Colours and Contrasts.” Films and Filming
15, no. 2 (November 1968): 58–62.
Eisenstein, Sergei. “Color and Meaning.” In Film Form: Essays in
Film Theory[and] The Film Sense. 113–153. Ed. and trans. Jay
Leyda. New York: Meridian, 1957.
Hertogs, Daan, and Nico de Klerk, eds. “Disorderly Order”: Colours
in Silent Film—the 1995 Amsterdam Workshop.Amsterdam:
Stichting Nederlands Filmmuseum, 1996.
Johnson, William. “Coming to Terms with Color.” Film Quarterly
20, no. 1 (Fall 1966): 2–22.
Mamoulian, Rouben. “Color and Light in Films.” Film Culture 21
(Summer 1960): 68–79.
Misek, Richard. A History of Screen Colour[sic]. London: Wiley-
Blackwell, 2010.
Perkins, V. F. Film as Film: Understanding and Judging Movies.
Baltimore: Penguin, 1972.
Ryan, Roderick T. A History of Motion Picture Color Technology.
New York: Focal Press, 1977.
Sharits, Paul. “Red, Blue, Godard.” Film Quarterly19, no. 4
(Summer 1966): 24–29.
Society of Motion Picture and Television Engineers. Elements of
Color in Professional Motion Pictures. New York: Society of
Motion Picture and Television Engineers, 1957.
Thomas, D. B. The First Colour Motion Pictures. London: H.M.S.O.,
1969.
Zelanski, Paul, and Mary Pat Fisher. Color. Englewood Cliffs, N.J.:
Prentice-Hall, 1989.
Lighting
Alton, John. Painting with Light. Berkeley: University of California
Press, 1995.
Coutard, Raoul. “Light of Day.” In Jean-Luc Godard: A Critical
Anthology. 232–239. Ed. Toby Mussmann. New York: Dutton,
1968.
Ferncase, Richard K. Film and Video Lighting Terms and Concepts.
Boston: Focal Press, 1995.
Guerin, Frances. A Culture of Light: Cinema and Technology in
1920s Germany. Minneapolis: University of Minnesota Press,
2005.
Higham, Charles. Hollywood Cameramen: Sources of Light.
Bloomington: Indiana University Press, 1970.
Malkiewicz, Kris. Film Lighting: Talks with Hollywood’s
Cinematographers and Gaffers. New York: Prentice-Hall, 1986.
Millerson, Gerald. The Technique of Lighting for Television and Film.
3rd ed. Boston: Focal Press, 1991.
———. The Technique of Lighting for Television and Motion Pictures.
New York: Focal Press, 1972.
Schaefer, Dennis, and Larry Salvato. Masters of Light:
Conversations with Contemporary Cinematographers. Berkeley:
University of California Press, 1984.
von Sternberg, Josef. Fun in a Chinese Laundry. New York:
Macmillan, 1965.Lenses
Graham, Arthur. “Zoom Lens Techniques.” American
Cinematographer44, no. 1 (January 1963): 28–29.
Joannides, Paul. “The Aesthetics of the Zoom Lens.” Sight and
Sound40, no. 1 (Winter 1970): 40-42.
Kaminsky, Stuart M. “The Use and Abuse of the Zoom Lens.”
Filmmakers Newsletter5, no. 12 (October 1972): 20–23.
Wees, William C. “Prophecy, Memory, and the Zoom: Michael
Snow’s Wavelength Re-Viewed.” Ciné-Tracts nos. 14/15
(Summer/Fall 1981): 78–83.Framing of the Shot
Barr, Charles. “CinemaScope: Before and After.” 140–168. In Film
Theory and Criticism: Introductory Readings. Ed. Gerald Mast
and Marshall Cohen. 2nd ed. New York: Oxford University
Press, 1979.
———. “A Letter from Charles Barr.” The Velvet Light Trap 21
(Summer 1985): 5–7.
Bazin, André. “The Evolution of the Language of Cinema.” In
What Is Cinema?Vol. 1. 23–40. Trans. Hugh Gray. Berkeley:
University of California Press, 1967.
———. “Three Essays on Widescreen Film.” The Velvet Light Trap
21 (Summer 1985): 8–18.
Belton, John. “CinemaScope: The Economics of Technology.” The
Velvet Light Trap21 (Summer 1985): 35–43.
Carr, Robert E., and R. M. Hayes. Wide Screen Movies: A History
and Filmography of Wide Gauge Filmmaking. Jefferson, N.C.:
McFarland, 1988.
Chisholm, Brad. “Widescreen Technologies.” The Velvet Light Trap
21 (Summer 1985): 67–74.
Cossar, Harper. The Evolution of Widescreen Cinema. Lexington:
University of Kentucky Press, 2010.
Katz, David. “A Widescreen Chronology.” The Velvet Light Trap 21
(Summer 1985): 62–64.
Ogle, Patrick L. “Technological and Aesthetic Influences upon the
Development of Deep Focus Cinematography in the United
States.” Screen13, no. 1 (Spring 1972): 45–72.
Spellerberg, James. “CinemaScope and Ideo logy.” The Velvet Light
Trap21 (Summer 1985): 26–34.