Abstract

While the “auteur” theory rightfully positions the director as the main creative force behind a movie’s specific style and content, it is undeniable that film is also a collaborative effort that requires the combined work of a team. While all the elements within that team are important, the cinematographer—director of photography—is certainly a key collaborator in translating the director’s vision to the screen. During the thirties and forties, John Ford worked with several cinematographers (often repeatedly) who all helped shape the visual style of the films they collaborated on. This article will address the way in which these collaborations, and mainly two key personalities—Gregg Toland and Bert Glennon—shaped and influenced Ford’s films in different ways and how the technical innovations that Toland and Glennon experimented with, undergirded the visual aesthetic and stylistics that would lead to new approaches in the director’s work.