Abstract
Drawing extensively on trade publications, such as American Cinematographer, and on the analysis of specific shots from films such The Andromeda Strain, The Boston Strangler, All the President’s Men, Dressed to Kill and Blow Out, the author examines strategies cinematographers employ to conceal the focal split when using the split-field diopter and points out how directors such as Brian DePalma use the diopter instead of shot/reverse shot editing and to achieve deep focus in anamorphic filmmaking.
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