in

ASC Names ‘Lawrence of Arabia’ #1 on List of 100 20th Century Cinematography Milestones

To celebrate its 100th anniversary, the American Society of Cinematographers has unveiled today a list of 100 milestones that represent the best of the cinematography craft over the 20th century. 90 of the group’s picks are unranked, but the top ten achievements are numbered and topped by David Lean‘s epic “Lawrence of Arabia,” lensed by Freddie Young, who earned one of the picture’s 7 Oscars for his work.

Other notable inclusions are Jordan Cronenwet‘s work in Ridley Scott’s “Blade Runner,” Néstor Almendros’ exquisite shots in Terrence Malick’s “Days of Heaven,” and the innovative futurism of Geoffrey Unsworth and John Alcott in Kubrick’s“2001: A Space Odyssey.” Italian master Vittorio Storaro was mentioned twice among the top ten selections for his outstanding contributions to Francis Ford Coppola’s “Apocalypse Now” and Bernardo Bertolucci’s “The Conformist” (the only foreign-language entry in the top ten).

Today, at the organization’s clubhouse in Hollywood, the City of Los Angeles will acknowledge and honor the ASC’s 100th anniversary with ASC president Kees van Oostrum and ASC 100th Committee chair Richard Crudo in attendance. As part of their centennial celebration, the ASC also created a reel highlighting the art of cinematography from its early days to the wonders of today.

The ASC has also announced nominations for their upcoming awards celebrating the best work of 2018 to be held on February 9.

ASC’s top 10 achievements in cinematography of the 20th century:

1. “Lawrence of Arabia” (1962), Freddie Young, BSC (Dir. David Lean)
2. “Blade Runner” (1982), Jordan Cronenweth, ASC (Dir. Ridley Scott)
3. “Apocalypse Now” (1979), Vittorio Storaro, ASC, AIC (Dir. Francis Ford Coppola)
4. “Citizen Kane” (1941), Gregg Toland, ASC (Dir. Orson Wells)
5. “The Godfather” (1972), Gordon Willis, ASC (Dir. Francis Ford Coppola)
6. “Raging Bull” (1980), Michael Chapman, ASC (Dir. Martin Scorsese)
7. “The Conformist” (1970), Vittorio Storaro, ASC, AIC (Dir. Bernardo Bertolucci)
8. “Days of Heaven” (1978), Néstor Almendros, ASC (Dir. Terrence Malick)
9. “2001: A Space Odyssey” (1968), Geoffrey Unsworth, BSC; additional photography: John Alcott, BSC (Dir. Stanley Kubrick)
10. “The French Connection” (1971), Owen Roizman, ASC (Dir. William Friedkin)

ASC’s full list of unranked 100 cinematography milestones from the 20th century:

“Metropolis” (1927)
“Napoleon” (1927)
“Sunrise” (1927)
“Gone with the Wind” (1939)
“The Wizard of Oz” (1939)
“The Grapes of Wrath” (1940)
“Citizen Kane” (1941)
“How Green Was my Valley” (1941)
“Casablanca” (1942)
“The Magnificent Ambersons” (1942)
“Black Narcissus” (1947)
“The Bicycle Thief” (1948)
“The Red Shoes” (1948)
“The Third Man” (1949)
“Rashomon” (1950)
“Sunset Boulevard” (1950)
“On the Waterfront” (1954)
“Seven Samurai” (1954)
“The Night of the Hunter” (1955)
“The Searchers” (1956)
“The Bridge on the River Kwai” (1957)
“Touch of Evil” (1958)
“Vertigo” (1958)
“Breathless” (1960)
“Last Year at Marienbad” (1961)
“Lawrence of Arabia” (1962)
“8 1/2” (1963)
“Hud” (1963)
“Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964)
“I Am Cuba (Soy Cuba)” (1964)
“Doctor Zhivago” (1965)
“The Battle of Algiers” (1966)
“Who’s Afraid of Virginia Woolf?” (1966)
“Cool Hand Luke” (1967)
“The Graduate” (1967)
“In Cold Blood” (1967)
“2001: A Space Odyssey” (1968)
“Once Upon a Time in the West” (1968)
“Butch Cassidy and the Sundance Kid” (1969)
“The Wild Bunch” (1969)
“The Conformist” (1970)
“A Clockwork Orange” (1971)
“The French Connection” (1971)
“Klute” (1971)
“The Last Picture Show” (1971)
“McCabe and Mrs. Miller” (1971)
“Cabaret” (1972)
“The Godfather” (1972)
“Last Tango in Paris” (1972)
“The Exorcist” (1973)
“Chinatown” (1974)
“The Godfather Part II” (1974)
“Barry Lyndon” (1975)
“One Flew Over the Cuckoo’s Next” (1975)
“All the President’s Men” (1976)
“Bound for Glory” (1976)
“Taxi Driver” (1976)
“Close Encounters of the Third Kind” (1977)
“The Duellists” (1977)
“Days of Heaven” (1978)
“The Deer Hunter” (1978)
“Alien” (1979)
“All That Jazz” (1979)
“Apocalypse Now” (1979)
“Being There” (1979)
“The Black Stallion” (1979)
“Manhattan” (1979)
“Raging Bull” (1980)
“The Shining” (1980)
“Chariots of Fire” (1981)
“Das Boot” (1981)
“Reds” (1981)
“Blade Runner” (1982)
“Fanny and Alexander” (1982)
“The Right Stuff” (1983)
“Amadeus” (1984)
“The Natural” (1984)
“Paris, Texas” (1984)
“Brazil” (1985)
“The Mission” (1986)
“Empire of the Sun” (1987)
“The Last Emperor” (1987)
“Wings of Desire” (1987)
“Mississippi Burning” (1988)
“JFK” (1991)
“Raise the Red Lantern” (1991)
“Unforgiven” (1992)
“Baraka” (1992)
“Schindler’s List” (1993)
“Searching for Bobby Fischer” (1993)
“Trois Couleurs: Bleu” (1993)
“The Shawshank Redemption” (1994)
“Se7en” (1995)
“The English Patient” (1996)
“L.A. Confidential” (1997)
“Saving Private Ryan” (1998)
“The Thin Red Line” (1998)
“American Beauty” (1999)
“The Matrix” (1999)
“In the Mood for Love” (2000)

What do you think?

Written by Carlos Aguilar

Originally from Mexico City, Carlos Aguilar was chosen as one of 6 young film critics to partake in the first Roger Ebert Fellowship organized by RogerEbert.com, the Sundance Institute and Indiewire in 2014. Aguilar’s work has appeared in prestigious publications such as The Wrap, Indiewire, Vulture, RogerEbert.com, MovieMaker Magazine, Remezcla Filmmaker Magazine, Variety Latino, Slate, Bustle, Americas Quarterly, among others.

Besides his work in journalism, Aguilar regularly works as a screener for the Sundance Film Festival and a screenplay reader for Sundance’s Screenwriters Lab. Carlos Aguilar has also been on the jury at renowned festivals such the Palm Springs International Film Festival, the Gasparilla International Film Festival, the Louisiana International Film Festival, and the Los Angeles Indian Film Festival.

Aguilar currently co-hosts, One Week Only, a weekly podcast highlighting independent and international cinema. He also regularly participates in panel discussions about the importance of people of color in film criticism and his experience as a DACA recipient working in the film industry.

‘Venom 2’ Currently in the Works With Writer Kelly Marcel

DGA Nominations for Feature Film: ‘Blindspotting,’ ‘Roma,’ ‘Blackkklansman’ Make the Cut