Film-making is a collaborative business and, when it comes to the way a filmooks, the critical relationship is that between the director and theinematographer - now often called the director of photography - whose rolen the enterprise is too often undervalued, if not wholly overlooked. Yet, ashis book shows, the cinematographer's contribution to many great movies haseen both vital and distinctive, and director-cinematographer partnerships, uch as those between David Lean and Freddie Young or Ingmar Bergman and Svenykvist, have played a significant role in the history of the cinema.;Thisook systematically examines and documents the technical and creative role ofhe cinematographer in European cinema over the past 100 years. It has beenompiled under the aegis of the Association of European CinematographersImago) and the contributors include many distinguished figures in Europeaninema history such as the director Bernardo Bertolucci, the actor Marcelloastroianni, cinematographers Sven Nykvist, Jack Cardiff and Giuseppe Rotunnond a number of leading film historians. Individual contributions cover aHis first film as DoP was Piccoli naufraghi (1939); other early work includes // pirata sono io (Mario Mattoli, 1940), ... Renoira#39;s preferred camera style - long takes on action staged in depth - can be seen in Ossessione. ... This camera style also lets action move through real time instead of showing it in pieces, which allows a more lengthy ... Set against the popular a#39;white telephonea#39; dramas - films about rich people in stylish interiors - and historical superproductions on nationalist themes, anbsp;...