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标题：The Interpretive Camera in Documentary Films 作者: Willard van Dyke Reviewed work(s): 来源: Hollywood Quarterly, Vol. 1, No. 4 (Jul., 1946), pp. 405-409 出版商: University of California Press 出处: /stabie7T2Q9501 引文格式：van Dyke, Willard. The Interpretive Camera in Documentary Films. Hollywood Quarterly 1.4 (1946): 405-409. The Interpretive Camera in Documentary Films WILLARD VAN DYKE WILLARD VAN DYKE began his career in documentary films as a cameraman on The River. He was co-producer of The City, and director of Valley Town, The Bridge, Northwest, U.S.A., and San Francisco, 1945. During the war he was a producer for the O.W.I. Overseas Motion Picture Bureau. TEN YEARS AGO a new era in documentary film making began in the United States. In 1936 Pare Lorentz finished his film The Plow That Broke the Plains and the critics without exception remarked upon its extraordinary photography. The following year The River was released and again scarcely a review failed to stress the beauty of the camera work. When The City came along in 1939, the critics praise of documentary film photography reached a new high. Documentary films—and here we are concerned with the true documentary as defined by Philip Dunne in issue Number 2 of the Hollywood Quarterly—have always been notable for the quality of their photography. The reasons for this fact have not always been clear to the critics, and it is the purpose of this article to examine some of the aspects of a craft which is much discussed and little understood. Many of the best documentary cameramen were still photographers who left that medium because they felt it was too limiting a vehicle to carry complex ideas. Ralph Steiner, Paul Strand, and Leo Hurwitz had all been well- known still photographers, but their cinematography for The Plow showed clearly their ability to expand their craft to encompass a broader field. Roger Barlow, whose camera work on many documentaries is outstanding, came to movies with a fine collection