1.
Cinematographer
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The study and practice of this field is referred to as cinematography. The cinematographer selects the camera, film stock, lens, filters, in the infancy of motion pictures, the cinematographer was usually also the director and the person physically handling the camera. As the art form and technology evolved, a separation between director and camera operator began to emerge, with the advent of artificial lighting and faster film stocks, in addition to technological advancements in optics, the technical aspects of cinematography necessitated a specialist in that area. Cinematography was key during the silent movie era, with no sound apart from music and no dialogue, the films depended on lighting, acting. Similar trade associations have been established in other countries too, there are a number of national associations of cinematographers which represent members and which are dedicated to the advancement of cinematography. S. C. Defines cinematography as, A creative and interpretive process that culminates in the authorship of a work of art rather than the simple recording of a physical event. Cinematography is not a subcategory of photography
2.
Camera operator
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A camera operator, sometimes informally called a cameraman or a camerawoman, is a professional operator of a film or video camera. In filmmaking, the designing the lighting is the cinematographer or director of photography. The camera operator is responsible for operating the camera and maintaining composition. In narrative filmmaking, the operator will collaborate with the director, director of photography, actors and crew to make technical. In this setting, an operator is part of a film crew consisting of the director of photography. In documentary filmmaking and news, the camera is called on to film unfolding. In 2006, there were approximately 27,000 television, video, important camera operator skills include choreographing and framing shots, knowledge of and the ability to select appropriate camera lenses, and other equipment to portray dramatic scenes. The principles of story telling and film editing fundamentals are important skills as well. The camera operator is required to clearly and concisely on sets where time
3.
Mario Bava
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Mario Bava was an Italian director, screenwriter, special effects artist, and cinematographer from the golden age of Italian horror films. His work kick-started the giallo genre and the modern slasher film. His son Lamberto Bava later went on to become a horror film director in his own right. Mario Bava was born in San Remo, Liguria on 31 July 1914 and he was the son of Eugenio Bava, a sculptor who also worked as a special effects photographer and cameraman in the Italian silent movie industry. Mario Bavas first ambition was to become a painter, unable to turn out paintings at a profitable rate, he went into his fathers business, working as an assistant to other Italian cinematographers like Massimo Terzano. He also helped his father at the effects department at Benito Mussolinis film factory. Bava became a cinematographer in his own right in 1939, shooting two films with Roberto Rossellini. He made his debut in the early 1940s. Bavas camerawork was a factor in developing the screen personas of such stars of the period as Gina Lollobrigida, Steve Reeves. Bava completed filming I vampiri for director Riccardo Freda in 1956, Bava co-directed The Day the Sky Exploded in 1958, the first Italian science fiction film, predating even the sci-fi films of Antonio Margheriti. Because he had no earlier credited experience as a director, the film was credited solely to Paolo Heusch, in 1960, Bava directed the gothic horror classic Black Sunday, his first solo directorial effort, which made a genre star out of Barbara Steele. His use of light and dark in black-and-white films is widely acclaimed along with his use of color in films such as Black Sabbath, Kill. Blood and Black Lace and The Whip and the Body and his work has proved very influential. Bava directed what is now regarded as the earliest of the Italian giallo films, The Girl Who Knew Too Much and Blood and his 1965 sci-fi/ horror film Planet of the Vampires was a thematic precursor to Alien. Although comic books had served as the basis for countless serials and childrens films in Hollywood, Bavas Danger, many elements of his 1966 film Kill, Baby. Regarded by Martin Scorsese as Bavas masterpiece, also appear in the Asian strain of terror film known as J-horror, 1971s A Bay of Blood is considered one of the earliest slasher films, and was explicitly imitated in Friday the 13th Part 2. Mario Bava was very disappointed with the distribution of some of his later films. His Lisa and the Devil was never picked up by a distributor, in 1977, Bava directed his last horror film, Shock, which was co-directed with his son Lamberto Bava who did the work uncredited
4.
Black Sabbath (film)
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Black Sabbath is a 1963 horror film directed by Mario Bava. The film is centered on three separate tales that have an introduction and conclusion from Boris Karloff, the film stars an international cast in three short stories. The first, titled The Telephone, involves Suzy who continually receives threatening calls from an unseen stalker. The second is The Wurdulak, where a man named Gorca returns to his family claiming to have slain a Wurdulak. Black Sabbath follows the 1960s trend of Italian film productions, being a low budget horror film with an international cast. The film is credited to various authors but is based on several uncredited sources. Several changes were made to the script even after the film had gone into production, American International Pictures suggested changes to Mario Bava during filming to make the film acceptable for the American target audience. The company created their own English language dub of the film that removed scenes involving violence and this version greatly changed the plot of The Telephone, giving it a supernatural story element and removing any reference to lesbianism or prostitution. A follow-up to Black Sabbath titled Scarlet Friday was originally going to be directed by Bava, plans for a remake were announced in 2004 with Jonathan Hensleigh attached to write the script. Black Sabbath has received reviews from critics. In the early 2010s, Time Out magazine conducted a poll with several authors, directors, actors, Black Sabbath placed at number 73. Note, This plot summary refers to the original Italian version of the film Rosy and she receives a series of strange phone calls. The caller eventually identifies himself as Frank, her pimp who has recently escaped from prison. Rosy is terrified, it was her testimony that sent Frank to prison, the women have been estranged, but Rosy is certain that only Mary can help her. Mary agrees to come over that night, seconds later, Frank calls again, promising that no matter what Rosy does he will have his revenge. Rosy doesnt realize that Mary is impersonating Frank on the telephone, Mary arrives at Rosys apartment and attempts to calm Rosys nerves. Mary provides Rosy with a knife for protection before she goes to sleep. As Rosy sleeps, Mary writes a confession explaining that she made the calls to force a reunion, while she is writing, an intruder enters the apartment
5.
The Whip and the Body
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The Whip and the Body is a 1963 Italian-French gothic horror film directed by Mario Bava. The film is about Kurt Menliff who is ostracized by his father for his relationship with a servant girl and he later returns, but falls madly in love with his brothers wife Nevenka. Menliff is later murdered, but the locals believe his ghost has returned to haunt the castle for revenge. Italian censors removed the film from cinemas due to its sadomasochistic themes, the international cut features some significant changes, and runs for 77 minutes. It was released theatrically as What and Night is the Phantom in the United States and United Kingdom, an isolated castle on the Eastern European coast. Kurt, the son of Count Menliff, was in marriage preparations with Nevenka. However, Kurt had an affair with Tania, the daughter of Menliffs servant Giorgia, Count Menliff rejected Kurt and he left the castle. Meanwhile, Nevenka married Cristiano, Kurts younger brother, one day, Kurt arrives at the castle, superficially to celebrate Cristiano and Nevenka but in fact he is to reclaim his title and fortune, which supposedly also includes Nevenka. During an evening on the beach and following a session of flogging and sex, frustrated, she does not return to the castle and is eventually found unconscious by the butler Losat. On the same night, Kurt is killed under curious circumstances, now, Kurt is dead but a series of events hints that his ghost has started to haunt the castle for revenge. Ernesto Gastaldi has stated that he had written the script himself with Ugo Guerra possibly contributing to some of the early one while Luciano Martino had no contribution to the script. Gastaldi was shown an Italian print of The Pit and the Pendulum by the producers who requested a similar film to be made, Gastaldi is credited as an assistant director in the films credits, but has stated he was never even on the set of the film. Mario Bava was brought in to direct the film through Ugo Guerras suggestion as he could direct the film and photograph the film. Bava took care of the cinematography for the film while his regular camera man Ubaldo Terzano is credited as the cinematographer, the film was shot for under ₤159 million Italian lire for six week shooting schedule with one more week for special effects. The film was shot in both Anzio and Castel SantAngelo in Rome, the films sadomasochistic theme caused trouble with censors in Italy. The board of censors demanded no cuts to the film, and this was appealed by the production companies for the film who cut parts of the film on their own and later earned a V. M.14 rating. The Whip and the Body was released in Italy on 29 August 1963 through Titanus, the film was seized on 12 October 1963, with charges of obscenity. The film was declared that it contained several sequences that refer to degenerations, the film was then later re-released in January 1964
6.
Blood and Black Lace
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Blood and Black Lace is a 1964 Italian horror thriller film directed by Mario Bava. Bava co-wrote the screenplay with Giuseppe Barilla and Marcello Fondato, the film stars Cameron Mitchell and Eva Bartok. The story concerns the stalking and brutal murders of various scantily-clad fashion models, the film is generally considered one of the earliest and most influential of all giallo films and served as a stylistic template for the body count slasher films of the 1980s. Tim Lucas has noted that the film has gone on to inspire legions of contemporary filmmakers, in 2004, one of its sequences was voted No.85 in The 100 Scariest Movie Moments by the Bravo TV network. Police Inspector Sylvester is assigned to investigate the murder and he interviews Max Marian, the manager who co-manages the salon with his lover and it is revealed that Isabella had kept a diary detailing these vices, and suddenly almost every employee becomes nervous. Nicole finds the diary, and she promises to provide it to the police and that night, Nicole drives to an antique store owned by her paramour, Frank. He is not there, and while inside she suddenly finds herself stalked by a black clad figure and she gets to the front entrance door but is grabbed from behind by the masked individual, who raises and slams a spiked glove into her face, killing her instantly. The murderer searches the corpse and her purse for the diary, when it becomes clear that she did not have it, the killer runs out of the shop. The murderer next visits Peggys apartment, the killer gains entrance simply by knocking on the front door, and when Peggy opens it, the masked figure abruptly walks inside. The assailant slaps and hits her repeatedly, and she explains that she no longer has the diary and had in fact burned it in the fireplace. When her attacker checks the fireplace to see if she told the truth, enraged, the murderer hits her over and over again in the face until she is knocked unconscious. The assailant then carries her away just as the police arrive, Peggy is taken to another location and tied to a chair. The killer tortures her, demanding to know where the diary is, the woman reaches up and knocks off the mask. The shocked girl recognizes her assailant, who proceeds to kill her brutally by slowly pressing her face against the surface of a burning furnace. Inspector Sylvester is convinced that the murderer is one of the men employed at the fashion house, however, while the suspects are in custody, Greta discovers Peggys corpse hidden in the trunk of her car, and is then attacked and smothered to death by the killer. After discovering the bodies of the latest victims, Sylvester releases all of the men, Max visits Cristina and reminds her about how he had assisted in the murder of her husband. Isabella had found out that Max had been involved in the crime, when she started asking for more and more money, Max murdered her. It was only later that Max and Cristina realized she had been keeping a diary that revealed everything, while attempting to retrieve the diary, Max had also killed Nicole and Peggy
7.
Black Sunday (1960 film)
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The film stars Barbara Steele, John Richardson, Arturo Dominici and Ivo Garrani. It was Bavas directorial debut, although he had completed several previous films without credit. Based very loosely on Nikolai Gogols short story Viy, the narrative concerns a witch who is put to death by her own brother, only to return 200 years later to seek revenge on her descendants. By the social standards of the 1960s, Black Sunday was considered unusually gruesome, despite the censorship, Black Sunday was a worldwide critical and box office success, and launched the careers of director Mario Bava and movie star Barbara Steele. In 2004, one of its sequences was voted number 40 among the 100 Scariest Movie Moments by the Bravo TV network, in Moldavia, in the year 1630, beautiful witch Asa Vajda and her paramour Javuto are sentenced to death for sorcery by Asas brother. Before being burned at the stake, Asa vows revenge and puts a curse on her brothers descendants, a metal mask with sharp spikes on the inside is placed over the witchs face and hammered into her flesh. While waiting for their coachman to fix it, the two wander into an ancient crypt and discover Asas tomb. Observing her death mask through a panel, Kruvajan breaks the panel by accident while striking a bat. He then removes Asas death mask revealing a partially preserved corpse that is visible underneath and he cuts his hand on the broken glass. Some of his blood drips onto Asas dead face, returning outside, Kruvajan and Gorobec meet Katia. She tells them that she lives with her father, Prince Vajda, Gorobec is instantly smitten by the beautiful young woman. The two men leave her and drive to an inn. The witch Asa is brought back to life by Kruvajans blood and she contacts Javuto telepathically and orders him to rise from his grave. He does so and goes to Prince Vajdas castle, where Vajda holds up a crucifix to ward the reanimated corpse away, however, Vajda is so terrified by the visit that he becomes paralyzed with fear. Katia and Constantin send a servant to fetch Dr. Kruvajan and it is the evil Javuto who arrives to bring Kruvajan to the castle. Javuto leads Kruvajan to Asas crypt, and Kruvajan watches in horror as her coffin explodes, from its ruins, the witch hypnotizes Kruvajan and says she needs a few more drops of his blood, offering him eternal life in return. Asa then kisses him, turning him into her servant, by Asas command, Kruvajan enters Vajdas room and murders him. Asas plan is to drain Katia of her life, believing that this act will grant her immortality, a little girl who had seen Javuto meet Kruvajan at the inn describes the dead man to Gorobec
8.
Investigation of a Citizen Above Suspicion
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Investigation of a Citizen Above Suspicion is a 1970 Italian crime drama film directed by Elio Petri. He begins manipulating the investigation by planting obvious clues while the police officers ignore them. A recently promoted police inspector kills his mistress, and then covers up his involvement in the crime and he insinuates himself into the investigation, planting clues to steer his subordinate officers toward a series of other suspects, including the womans gay husband and a student radical. He then exonerates the other suspects and leads the investigators toward him, in order to prove that he is above suspicion and can get away with anything, in the end, he confesses to the crime in front of his superiors - who refuse to believe him. Sure that he is safe, he recants his confession, investigation of a Citizen Above Suspicion was released in Italy on February 9,1970 where it was distributed by Euro International Film. In Italy, the film had a gross of 1,928,248,000 Italian lire. The film was regarded in its own time, winning the Academy Award for Best Foreign Language Film. Also it won as Best Foreign Language Film at the Kansas City Film Critics Circle Awards 1971, investigation of a Citizen Above Suspicion was well received by critics and is widely considered one of the best international films of the 1970s. It is a parable, and a stunning movie. Cannon Films had hoped to remake the film in the mid 80s with Sidney Lumet or Andrei Konchalovsky directing, al Pacino and Christopher Walken were to star, and Paul Schrader as writer, as he wrote both a story treatment and a screenplay. List of submissions to the 43rd Academy Awards for Best Foreign Language Film List of Italian submissions for the Academy Award for Best Foreign Language Film
9.
Lucio Fulci
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Lucio Fulci was an Italian film director, screenwriter and actor. He is perhaps best known for his films, including Zombi 2 and The Beyond, although he made films in genres as diverse as giallo, western. Fulci is known as the Godfather of Gore, a title given to Herschell Gordon Lewis. Fulci was born in Rome, Italy, on 17 June 1927, in the early 1960s, Fulci wrote or directed around 18 Italian comedies, many of them starring the famous Italian comedian team of Franco Franchi and Ciccio Ingrassia. Most of these films did not enjoy wider distribution in English-speaking countries. Fulcis first film distributed theatrically in the USA was Oh and those Most Secret Agents. in 1965. Only three of his other 1960s films were released in the U. S, massacre Time, Una sullaltra and Beatrice Cenci. His first film to gain significant notoriety in his country, Dont Torture a Duckling. Fulci had a Catholic upbringing and referred to himself as a Catholic, despite this, some of his movies have been viewed as having anti-Catholic sentiment. In one of his films, a priest is depicted as a child killer, while in another film. In 1979, he achieved his breakthrough with Zombi 2. He followed it up several other tales of horror films, also featuring zombies. His features released from 1979 through 1983 were described by critics as being among the most violent. Others were released Unrated in order to avoid an X-rating which would have restricted the films target audiences to adults, the unrated films often played worldwide in drive-ins and grindhouses where they developed a cult following. Many of Fulcis horror films tend to contain injury to the eye sequences, in which a characters eyeball is either pierced or pulled out of its socket, usually in lingering, several of Fulcis movies were prohibited in Europe or were released in heavily cut versions. Of the original 72 films on the video nasty list in the United Kingdom. After collaborating with screenwriter Sacchetti for six years, Fulci went off on his own in 1983 to direct the movie Conquest in Mexico, failing to involve Sacchetti in the deal. The film did poorly upon its release, and afterwards, Fulci had trouble jump-starting his working relationship with Sacchetti, who by that time had gone his own way
