Chapter 4 covers cinematography, specifically Film Stock, Photofilms, the Freeze-Frame, Moving Camera, and Bullet Time/Time Slice. As Sponsor magazine declared in 1955, the “video portion” of the commercials needed to lead, with copywriters following. Gerald Schnitzer often relied on some of the best camera operators of the classical and, later, post-classical Hollywood eras to shoot his TV commercials, initiating a practice in which cinematographers were able to explore and experiment within limitations dictated by advertising clients and television norms.
Edinburgh Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.