The Last Laugh is a 1924 German silent film directed by German director F. W. Murnau from a screenplay written by Carl Mayer. The film stars Emil Jannings and Maly Delschaft.
Ewald André Dupont was a German film director, one of the pioneers of the German film industry. He was often credited as E. A. Dupont.
A light meter is a device used to measure the amount of light. In photography, an exposure meter is a light meter coupled to either a digital or analog calculator which displays the correct shutter speed and f-number for optimum exposure, given a certain lighting situation and film speed. Similarly, exposure meters are also used in the fields of cinematography and scenic design, in order to determine the optimum light level for a scene.
The American Society of Cinematographers (ASC), founded in Hollywood in 1919, is a cultural, educational, and professional organization that is neither a labor union nor a guild. The society was organized to advance the science and art of cinematography and gather a wide range of cinematographers to discuss techniques and ideas and to advocate for motion pictures as a type of art form. Currently, the president of the ASC is Shelly Johnson.
German expressionist cinema was a part of several related creative movements in Germany in the early 20th century that reached a peak in Berlin during the 1920s. These developments were part of a larger Expressionist movement in north and central European culture in fields such as architecture, dance, painting, sculpture and cinema.
Jack Cardiff was a British cinematographer, film and television director, and photographer. His career spanned the development of cinema, from silent film, through early experiments in Technicolor, to filmmaking more than half a century later.
William H. Daniels ASC was a film cinematographer who was best-known as actress Greta Garbo's personal lensman. Daniels served as the cinematographer on all but three of Garbo's films during her tenure at Metro-Goldwyn-Mayer, including Torrent (1926), The Mysterious Lady (1928), The Kiss (1929), Anna Christie (1930), Grand Hotel (1932), Queen Christina (1933), Anna Karenina (1935), Camille (1936) and Ninotchka (1939). Early in his career, Daniels worked regularly with director Erich von Stroheim, providing cinematography for such films as The Devil's Pass Key (1920) and Greed (1924). Daniels went on to win an Academy Award for Best Cinematography for his work on The Naked City (1948).
Charles G. Rosher, A.S.C. was an English-born cinematographer who worked from the early days of silent films through the 1950s.
Guy Mervin Charles Green OBE BSC (5 November 1913 – 15 September 2005) was an English film director, producer, screenwriter, and cinematographer. In 1948, he won an Oscar as cinematographer for the film Great Expectations. In 2002, Green was given a Lifetime Achievement Award by the BAFTA, and, in 2004, he was named an Officer of the Order of the British Empire for his lifetime contributions to British cinema.
Der Januskopf is a lost 1920 German silent film directed by F. W. Murnau. The film was an adaptation of Robert Louis Stevenson's 1886 novella The Strange Case of Dr. Jekyll and Mr. Hyde. Little is known about the production, it was shot and previewed under the title Schrecken with production starting in either February or March 1920.
In photography, painting, and other visual arts, middle gray or middle grey is a tone that is perceptually about halfway between black and white on a lightness scale; in photography and printing, it is typically defined as 18% reflectance in visible light.
Rudolph Maté was a Polish-Hungarian cinematographer who worked in Hungary, Austria, Germany, and France. He collaborated with notable directors including Fritz Lang, René Clair, and Carl Theodor Dreyer, attracting notable recognition for The Passion of Joan of Arc (1928) and Vampyr (1932).
Gaetano (Tony) Gaudio, A.S.C. was a pioneer Italian-American cinematographer of more than 1000 films. Gaudio won the Academy Award for Best Cinematography for Anthony Adverse, becoming the first Italian to have won an Oscar, and was nominated five additional times for Hell's Angels, Juarez, The Letter, Corvette K-225, and A Song to Remember. He is cited as the first to have created a montage sequence for a film in The Mark of Zorro. He was among the founders of the American Society of Cinematographers, and served as president from 1924 until 1925.
Guido Seeber was a German cinematographer and pioneer of early cinema.
Alfred Gilks was an American cinematographer from 1920 through to 1956. Gilks has worked on over sixty films and is known for utilizing his U.S. Navy background to capture and operate one of the first 'nautical cameras' for the film Old Ironsides (film).
Hal Mohr, A.S.C. was a famed movie cinematographer who won an Oscar for his work on the 1935 film A Midsummer Night's Dream. He was awarded another Oscar for The Phantom of the Opera in 1943 and received a nomination for The Four Poster in 1952.
Charles J. Stumar was a Hungarian-American cinematographer who shot 110 English and German language films from 1917 until his death in a plane accident. He was a brother of cinematographer John Stumar.
Fritz Arno Wagner is considered one of the most acclaimed German cinematographers from the 1920s to the 1950s. He played a key role in the Expressionist film movement during the Weimar period and is perhaps best known for excelling "in the portrayal of horror," according to noted film critic Lotte H. Eisner.
J. Roy Hunt born John Roy Hunt was an American motion picture cameraman and cinematographer. His career began around the time of World War I and continued to the 1950s. Hunt served as director of cinematography on numerous films, such as Beau Geste, A Kiss for Cinderella, Flying Down to Rio, and She.
Robert Kurrle, also known as Robert B. Kurrle, was an American cinematographer during the silent and early talking film eras. Prior to entering the film industry, he was already experimenting with aerial photography. Considered a very prominent cinematographer, even his early work received notice and praise from both critics and other industry professionals. The advent of sound film did not abate his continued rise, and he became the top director of photography at Warner Brothers by 1932.
