請教如何寫出Schindler's List 的拍攝手法文章

[edit] Cinematography
Spielberg decided not to plan the film with storyboards, and to shoot the film like a documentary, looking to the documentaries The Twisted Cross (1956)[9] and Shoah (1985) for inspiration. Forty percent of the film was shot with handheld cameras, and the modest budget meant the film was shot quickly over seventy-two days. Spielberg felt that this gave the film "a spontaneity, an edge, and it also serves the subject." Spielberg said that he "got rid of the crane, got rid of the Steadicam, got rid of the zoom lenses, [and] got rid of everything that for me might be considered a safety net."[6] Such a style made Spielberg feel like an artist, as he limited his tools for a film he felt didn't have to be commercially successful.[4] This matured Spielberg, who felt that in the past he had always been paying tribute to directors such as Cecil B. DeMille or David Lean.[8] On this film, his shooting style was purely his own. He proudly noted that in this film, there were no crane shots.[2]

The decision to shoot the film in black and white lent to the documentarian style of cinematography, which cinematographer Janusz Kaminski compared to German Expressionism and Italian neorealism.[6] Kaminski said that he wanted to give a timeless sense to the film, so the audience would "not have a sense of when it was made."[6] Spielberg was following suit with "[v]irtually everything I've seen on the Holocaust... which have largely been stark, black and white images."[10] Universal chairman Tom Pollock asked Spielberg to shoot the film in a color negative, to allow color VHS copies of the film to be sold, but Spielberg did not want "to beautify events."[6] Black and white did present challenges to the color-familiar crew. Allan Starski, the production designer, had to make the sets darker or lighter than the people in the scenes, so they would not blend. The costumes also had to be distinguished from skin tones or colors being used for the sets.[10]