{"id":14497,"date":"2012-02-23T19:41:48","date_gmt":"2012-02-23T19:41:48","guid":{"rendered":"http:\/\/www.filmdetail.com\/?p=14497"},"modified":"2012-02-23T19:41:48","modified_gmt":"2012-02-23T19:41:48","slug":"84th-academy-awards-cinematography","status":"publish","type":"post","link":"https:\/\/www.filmdetail.com\/2012\/02\/23\/84th-academy-awards-cinematography\/","title":{"rendered":"84th Academy Awards: Cinematography"},"content":{"rendered":"
NOMINEES<\/strong><\/p>\n Easily the most interesting technical category this year, as the nominees reflect old school 35mm (War Horse, The Tree of Life), colour celluloid transformed to B&W with digital post-production tools (The Artist), digital 3D (Hugo) and 2D digital (The Girl With the Dragon Tattoo).<\/p>\n When this award began, for the first four years the cinematographer was not named and it wasn’t until 1931 that\u00a0the current system came in, whereby individuals are listed alongside a film.<\/p>\n When The Garden of Allah<\/a>\u00a0(1936,\u00a0A Star is Born<\/a>\u00a0(1937) and Sweethearts<\/a>\u00a0(1938)\u00a0became the\u00a0first colour films to win Special Achievement Oscars from 1939 until 1966, the award was split between black-and-white and colour.<\/p>\n Since then, the only black-and-white film to win is\u00a0Schindler’s List<\/a>\u00a0(1993).<\/p>\n THE ARTIST<\/strong><\/p>\n<\/a><\/p>\n
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