ambivalent face expresses the dizzying layers of representation. Is she
preoccupied with the past projected behind her or the future projection
of her own performance?
These examples are a long way from typical in-house production
photographs in which comment and individual style are discouraged.
They are in general the exception, not the rule, although there is a long
history of independent-minded photographers working on set. As the
economic power of the film studios waned in the 1960 s and ’ 70 s, budgets
for production photography were cut dramatically. At the same time
some directors and actors sought greater autonomy, which led on
occasion to more informed pairings of photographers and films. Photo-
journalists would often be invited on set in the hope of free publicity. For 123
107 Christopher Doyle,Anne Heche on the
Set of Psycho(Gus van Sant, 1997).