Le service de photographie de cinéma dans les studios de cinéma américains pendant les années 1920 : le cas de Mamaroneck et de Pathé Exchange
This article explores the evolution of the profession of cinema still photographer in two American studios during the 1920s, drawing on previously unpublished archives. As part of a reflection on the history of cinema professions, it highlights the progressive structuring of this occupation, crucial...
Saved in:
| Main Author: | |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Association Française des Enseignants et Chercheurs en Cinéma et Audiovisuel
2025-04-01
|
| Series: | Mise au Point |
| Subjects: | |
| Online Access: | https://journals.openedition.org/map/7947 |
| Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
| Summary: | This article explores the evolution of the profession of cinema still photographer in two American studios during the 1920s, drawing on previously unpublished archives. As part of a reflection on the history of cinema professions, it highlights the progressive structuring of this occupation, crucial to the studios' visual communication.Through an analysis of the cases of D. W. Griffith’s studio in Mamaroneck and Pathé Exchange in New Jersey, the article demonstrates how cinema still photographers were gradually integrated into production teams, navigating between precarious contracts and the progressive structuring of their profession. This period also saw the emergence of a professional elite, embodied by such iconic figures as Hendrik Sartov and William Mortensen. Finally, the article examines the interactions between photographers and other trades, as well as the rise of essential related roles, such as developers and retouchers. |
|---|---|
| ISSN: | 2261-9623 |