A Dictionary of Film Studies by Annette Kuhn & Guy Westwell

Author:Annette Kuhn & Guy Westwell
Language: eng
Format: epub
Publisher: Oxford University Press
Published: 2014-01-08T05:00:00+00:00

Further Reading:

Bergfelder, Tim, Carter, Erica, and Göktürk, Deniz (eds.), The German Cinema Book (2002).

Clarke, David (ed.), German Cinema since Unification (2006).

Elsaesser, Thomas (ed.), The BFI Companion to German Cinema (1999).

Hake, Sabine German National Cinema (2002).

http://www.filmportal.de/df/

• Film Portal, information on German film since 1895.

globalization

See TRANSNATIONAL CINEMA; WORLD CINEMA.

gothic horror

See HORROR.

grain

The silver halide crystals in the emulsion layer of a *film stock that, on exposure to light and when processed, turn to metallic silver and form the image. In a motion-picture film stock the light-sensitivity of these crystals is related to their size: the larger the crystals the greater the sensitivity to light; the smaller the crystals the lesser the sensitivity to light. When exposed and developed film is projected onto a cinema screen, the silver from the silver halide crystals can be seen as grain. In the *classical Hollywood system noticeable grain was regarded as visually inferior, and therefore slow film stocks were preferred. However, with the 1950s development of 16 mm cameras like the Arriflex 16ST for gathering news and documentary footage and the increased use of fast stocks such as Kodak Tri-X (200ASA), films began to show noticeable grain. This graininess established a code of ‘gritty realism’ in both *documentary and fiction films, suggesting greater authenticity than ‘glossy’ fine grain images; as, for example in Don’t Look Back (1967), D.A. Pennebaker’s *direct cinema documentary of Bob Dylan’s 1965 UK tour, and La battaglia di Algeri/The Battle of Algiers (Gillo Pontecorvo, Italy/Algeria, 1966), a documentary-style recreation of political events in the Algerian struggle against French colonial rule. See also CELLULOID; EXPOSURE.

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