AE
Arthur Edeson
Additional Credits
Born October 24, 1891Died February 14, 1970 (78 years)
From Wikipedia
Arthur Edeson, A.S.C. (October 24, 1891 – February 14, 1970) was a film cinematographer, born in New York City.
He was nominated for three Academy Awards in his career in cinema.
Edeson began his career as a still photographer, but turned to movies in 1911 as a camera operator at the American Éclair Studio in Fort Lee, New Jersey when it and many other early film studios in America's first motion picture industry were based there at the beginning of the 20th century.
When the Éclair Studio was reorganized as the World Film Company, he was promoted to chief cinematographer assigned to the star Clara Kimball Young. Throughout the twenties, Edeson photographed a number of important films, including Douglas Fairbanks' Robin Hood (1922) and The Thief of Bagdad (1924), and the ground breaking special effects film The Lost World (1925).
When sound came in, Edeson experimented with camouflaging the microphones in exterior shots. In Old Arizona (1929), the first sound film to be shot outside a studio, provided evidence to Hollywood executives that talking pictures need not be confined to the sound stage. The western was also the first film to be made in the 70mm widescreen process, known as "Fox Grandeur".
In the early thirties, perhaps his most memorable creative partnership was formed with director James Whale, for whom he photographed the first three of Whale's quartet of horror films: Frankenstein (1931), The Old Dark House (1932), and The Invisible Man (1933).
His principal work was on the side of realism, which is considered by most film historians to represent the "zenith of Hollywood photography." Edeson built on the influence of German Expressionism, brought to the America cinema by German cinematographers during the 1920s.
In 1919, Edeson was one of the founders of the American Society of Cinematographers.
Arthur Edeson, A.S.C. (October 24, 1891 – February 14, 1970) was a film cinematographer, born in New York City.
He was nominated for three Academy Awards in his career in cinema.
Edeson began his career as a still photographer, but turned to movies in 1911 as a camera operator at the American Éclair Studio in Fort Lee, New Jersey when it and many other early film studios in America's first motion picture industry were based there at the beginning of the 20th century.
When the Éclair Studio was reorganized as the World Film Company, he was promoted to chief cinematographer assigned to the star Clara Kimball Young. Throughout the twenties, Edeson photographed a number of important films, including Douglas Fairbanks' Robin Hood (1922) and The Thief of Bagdad (1924), and the ground breaking special effects film The Lost World (1925).
When sound came in, Edeson experimented with camouflaging the microphones in exterior shots. In Old Arizona (1929), the first sound film to be shot outside a studio, provided evidence to Hollywood executives that talking pictures need not be confined to the sound stage. The western was also the first film to be made in the 70mm widescreen process, known as "Fox Grandeur".
In the early thirties, perhaps his most memorable creative partnership was formed with director James Whale, for whom he photographed the first three of Whale's quartet of horror films: Frankenstein (1931), The Old Dark House (1932), and The Invisible Man (1933).
His principal work was on the side of realism, which is considered by most film historians to represent the "zenith of Hollywood photography." Edeson built on the influence of German Expressionism, brought to the America cinema by German cinematographers during the 1920s.
In 1919, Edeson was one of the founders of the American Society of Cinematographers.
Arthur Edeson Filmography
| 1949 | The Fighting O'Flynn · as Director Of Photography |
| 1948 | Two Guys from Texas · as Director Of Photography |
| 1947 | My Wild Irish Rose · as Director Of Photography |
| 1947 | Stallion Road · as Director Of Photography |
| 1946 | The Time, the Place and the Girl · as Director Of Photography |
| 1946 | Never Say Goodbye · as Director Of Photography |
| 1946 | Nobody Lives Forever · as Director Of Photography |
| 1946 | Two Guys from Milwaukee · as Director Of Photography |
| 1946 | Three Strangers · as Director Of Photography |
| 1944 | The Conspirators · as Director Of Photography |
| 1944 | The Mask of Dimitrios · as Director Of Photography |
| 1944 | Shine on Harvest Moon · as Director Of Photography |
| 1943 | Thank Your Lucky Stars · as Director Of Photography |
| 1942 | Casablanca · as Director Of Photography |
| 1942 | Across the Pacific · as Director Of Photography |
| 1942 | The Male Animal · as Director Of Photography |
| 1941 | The Maltese Falcon · as Director Of Photography |
| 1941 | Kisses for Breakfast · as Director Of Photography |
| 1940 | Lady with Red Hair · as Director Of Photography |
| 1940 | Tugboat Annie Sails Again · as Director Of Photography |
| 1940 | They Drive by Night · as Director Of Photography |
| 1940 | Castle on the Hudson · as Director Of Photography |
| 1939 | Kid Nightingale · as Director Of Photography |
| 1939 | No Place to Go · as Director Of Photography |
| 1939 | Each Dawn I Die · as Director Of Photography |
| 1939 | Sweepstakes Winner · as Director Of Photography |
| 1939 | Secret Service of the Air · as Cinematographer |
| 1939 | Nancy Drew... Reporter · as Director Of Photography |
| 1939 | Wings of the Navy · as Director Of Photography |
| 1938 | Mr. Chump · as Cinematographer |
| 1938 | Racket Busters · as Director Of Photography |
| 1938 | Cowboy from Brooklyn · as Director Of Photography |
| 1938 | Swing Your Lady · as Director Of Photography |
| 1937 | The Kid Comes Back · as Director Of Photography |
| 1937 | Submarine D-1 · as Director Of Photography |
| 1937 | The Footloose Heiress · as Director Of Photography |
| 1937 | They Won't Forget · as Director Of Photography |
| 1937 | Mr. Dodd Takes the Air · as Director Of Photography |
| 1937 | The Go Getter · as Director Of Photography |
| 1936 | Gold Diggers of 1937 · as Director Of Photography |
| 1936 | China Clipper · as Director Of Photography |
| 1936 | Satan Met a Lady · as Director Of Photography |
| 1936 | Hot Money · as Director Of Photography |
| 1936 | The Golden Arrow · as Director Of Photography |
| 1936 | Ceiling Zero · as Director Of Photography |
| 1935 | Mutiny on the Bounty · as Director Of Photography |
| 1935 | Dinky · as Director Of Photography |
| 1935 | While the Patient Slept · as Director Of Photography |
| 1935 | Devil Dogs of the Air · as Director Of Photography |
| 1935 | Maybe It's Love · as Director Of Photography |
| 1934 | Here Comes the Navy · as Director Of Photography |
| 1934 | The Merry Frinks · as Director Of Photography |
| 1934 | Palooka · as Director Of Photography |
| 1933 | His Double Life · as Director Of Photography |
| 1933 | The Invisible Man · as Director Of Photography |
| 1933 | The Life of Jimmy Dolan · as Director Of Photography |
| 1933 | A Study in Scarlet · as Director Of Photography |
| 1933 | The Constant Woman · as Director Of Photography |
| 1932 | Flesh · as Director Of Photography |
| 1932 | Red Dust · as Director Of Photography |
| 1932 | The Old Dark House · as Director Of Photography |
| 1932 | Those We Love · as Director Of Photography |
| 1932 | The Last Mile · as Director Of Photography |
| 1932 | Strangers of the Evening · as Director Of Photography |
| 1932 | The Impatient Maiden · as Director Of Photography |
| 1931 | Frankenstein · as Director Of Photography |
| 1931 | Waterloo Bridge · as Director Of Photography |
| 1931 | Doctors' Wives · as Cinematographer |
| 1931 | The Man Who Came Back · as Director Of Photography |
| 1930 | The Big Trail · as Director Of Photography |
| 1930 | All Quiet on the Western Front · as Director Of Photography |
| 1929 | The Cock-Eyed World · as Director Of Photography |
| 1929 | Girls Gone Wild · as Cinematographer |
| 1928 | In Old Arizona · as Director Of Photography |
| 1927 | The Gorilla · as Director Of Photography |
| 1927 | The Drop Kick · as Director Of Photography |
| 1927 | The Patent Leather Kid · as Director Of Photography |
| 1926 | Just Another Blonde · as Director Of Photography |
| 1926 | The Blue Eagle · as Cinematographer |
| 1926 | The Bat · as Director Of Photography |
| 1926 | Partners Again · as Director Of Photography |
| 1925 | Stella Dallas · as Director Of Photography |
| 1925 | Her Sister from Paris · as Director Of Photography |
| 1925 | Waking Up the Town · as Director Of Photography |
| 1925 | The Lost World · as Director Of Photography |
| 1924 | The Thief of Bagdad · as Director Of Photography |
| 1922 | Robin Hood · as Director Of Photography |
| 1921 | The Three Musketeers · as Director Of Photography |
| 1919 | Eyes of Youth · as Director Of Photography |
| 1915 | Hearts in Exile · as Cinematographer |