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imagery, and artistic flair. Movies like "My Name is Julia Ross," "In a Lonely Place," and "The Sniper" showcase his early style, in which he used shadows and lighting to craft suspenseful, atmospheric moods that complemented the story. Guffey strongly believes in the importance of "keeping the lighting simple", and this approach is best demonstrated in his photographs of the "Birdman of
Alcatraz". Throughout his career, Guffey showed his ability to think creatively outside of the boundaries of noir's strong visual style. His later projects, often described as having a "flat style" of cinematography, represented a shift from his previous methods. This aesthetic was characterized by its simple, realistic cinematography, emphasizing simplicity and minimalism to capture the scene's core without elaborate shadows and lighting. This change showcases not only his technical expertise but also his artistic responsiveness to the storytelling requirements of each movie.
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black-and-white cinematography of the
Academy-nominated King Rat last year, but now he is venturing into creating a similar effect in color for the first time, which presents a commendable challenge. "Guffey noted that Arthur Penn, the director, aimed for his film to have a genuine and non-theatrical feel." Warren Beatty, the star of the film, who was also the producer, expressed his perspective. They aimed to capture stark realism on film. Nothing was supposed to be attractive. All aspects of the situation could be described as severe, and that was consistent throughout the entire scenario. This partnership among Guffey, Penn, and Beatty produced a visually stunning movie that truly captured the essence of its subject matter.
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Between 1957 and 1962, Guffey worked on movies like Jack
Garfeinâs "The Strange One," Karlsonâs "The Brothers Rico," Gerd Oswaldâs "Screaming Mimi," Peter Glenvilleâs "Me and the Colonel," Paul Wendkosâ "Gidget," Rossenâs "They Came to Cordura," Karlsonâs "Hell to Eternity," and John Frankenheimerâs
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Guffey's long-lasting success in
Hollywood cinematography includes his ability to adapt his style to various genres. It highlights his significant influence on the evolution of film as an artistic medium, showing that successful cinematography involves more than just following genre conventions but
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Burnett Guffey, who was born on May 26, 1905 in Del Rio, Tennessee, went to school in Etowah, Tennessee. He began working as a messenger boy at a bank, then transitioned to a camera assistant at Fox in 1923. In the same year, he released his debut film "The
Courtship of Myles Standish". John Ford
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Throughout his career, Burnett Guffey's cinematographic style experienced a notable transformation, demonstrating his versatility and expertise in various genres and techniques. At first, Guffey was praised for his contributions to film noir, a style recognized for its intense visual depth, dark
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Guffey's skill in mastering both highly stylized and simple cinematographic styles showcases why he is considered a huge figure in the field of cinematography. His ability to excel in two areas enabled him to create films that were visually engaging and emotionally impactful, ensuring that the
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During the span of 1944 to 1953, Guffey captured important movies like "My Name Is Julia Ross," "Framed," "Knock on Any Door," "The
Reckless Moment," "All the Kingâs Men," "In a Lonely Place," "The Sniper," and "From Here to Eternity," earning his initial Oscar in his three decades career.
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The focus during the filming of Bonnie and Clyde was on achieving "realism," and to achieve that visual effect in color on screen, veteran cinematographer
Burnett Guffey, ASC, was chosen as Director of Photography. He successfully achieved a gritty semi-documentary style in his impressive
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Guffey first worked as a cinematographer in 1944 on the film "Sailor's
Holiday." He became well-known for his clear visual style and excellent arrangement of shots, especially in film noir, having contributed to twenty of these films throughout his professional life.
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After winning an Oscar, Guffey went on to work on well-known movies such as Langâs "Human Desire," Don Siegelâs "Private Hell 36," Lewis Seilerâs "The Bamboo Prison," Rudolph MatĂ©âs "The
Violent Men," Phil Karlsonâs "Tight Spot," George Shermanâs "Count Three."
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Between 1935 and 1944, Guffey worked as a cinematographer on various well-known movies such as "Clive of India," "The
Informer," "You Only Live Once," "Foreign Correspondent," "Seven Sinners," "That Hamilton Woman," and "Cover Girl."
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He received his fourth Oscar nomination for his work on Bryan Forbes' 1965 film "King Rat" and his fifth nomination, along with his second Oscar, for Arthur Penn's 1967 film "Bonnie and Clyde."
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chose him for the second unit cinematography of the epic film "The Iron Horse" the next year. He spent the decade working for Famous Players-Lasky, Fox, and various other studios.
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Guffey's final notable movie was the 1970 film "The Great White Hope," directed by Martin Ritt. The next year, "The Steagle" was his last movie.
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studios in 1927, became a camera operator in 1928 and worked there until 1943. Guffey was hired as a Director of Photography by
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also includes innovating and adjusting to improve cinematic narrative.
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Dr George Washington Guffey Josephine Loubelle âJosieâ Fleming Guffey
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According to film critic Spencer Selby, Guffey was a prolific
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personal reflection, personal essay, or argumentative essay
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Burnett Guffey died on May 30, 1983, at the age of 78.
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Presidents of the American Society of Cinematographers
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1342:"Guffey, Burnett"
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2178:Andrew Lesnie
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2053:Ronnie Taylor
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2019:
2016:
2013:
2010:
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1993:
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1987:
1983:
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1974:
1971:
1968:
1965:
1964:Oswald Morris
1962:
1959:
1958:Freddie Young
1956:
1953:
1950:
1947:
1944:
1941:
1938:
1935:
1931:
1928:
1925:
1924:Freddie Young
1921:
1920:Ernest Laszlo
1918:
1915:
1911:
1908:
1905:
1901:
1898:
1895:
1894:Freddie Young
1891:
1887:
1886:Jean Bourgoin
1884:
1881:
1877:
1874:
1871:
1870:Russell Metty
1867:
1864:
1861:
1857:
1854:
1851:
1847:
1844:
1841:
1840:Jack Hildyard
1838:
1835:
1834:Lionel Lindon
1831:
1828:
1825:
1821:
1818:
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1811:
1810:Boris Kaufman
1808:
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1746:
1742:
1741:Paul C. Vogel
1739:
1736:
1732:
1728:
1724:
1721:
1718:
1714:
1711:
1708:
1707:Arthur Arling
1704:
1703:Leonard Smith
1700:
1696:
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1683:
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1676:
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1653:
1650:
1649:Ernest Palmer
1646:
1643:
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1636:
1635:George Barnes
1633:
1630:
1626:
1625:Ernest Haller
1622:
1619:
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1591:Victor Milner
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1261:
1259:
1258:Focus on Film
1255:
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1065:
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1057:
1056:
1052:
1049:
1048:
1044:
1041:
1040:Where It's at
1038:
1035:
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1027:
1026:
1022:
1019:
1018:
1014:
1011:
1010:
1006:
1003:
1002:
998:
995:
994:
990:
987:
986:
985:The Ambushers
982:
979:
978:
977:The Silencers
974:
971:
970:
966:
963:
962:
958:
955:
954:
950:
947:
946:
942:
939:
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934:
931:
930:
929:Cry for Happy
926:
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712:
711:Scandal Sheet
708:
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689:
688:
684:
681:
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679:Two of a Kind
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398:Tahiti Nights
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315:This article
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102:
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84:
79:
69:
65:
60:
43:
39:
32:
27:
20:
2304:James Friend
2298:Greig Fraser
2190:Russell Boyd
2171:2001âpresent
2089:Peter Biziou
2077:Chris Menges
2071:David Watkin
2065:Chris Menges
2059:Sven Nykvist
1976:Sven Nykvist
1939:
1904:Leon Shamroy
1824:Robert Burks
1804:Loyal Griggs
1799:
1794:Archie Stout
1776:Alfred Gilks
1717:Jack Cardiff
1689:Leon Shamroy
1679:Leon Shamroy
1659:Leon Shamroy
1629:Ray Rennahan
1621:Gregg Toland
1585:Charles Lang
1573:Floyd Crosby
1471:
1405:. Retrieved
1401:
1392:
1373:
1365:
1360:
1349:. Retrieved
1345:
1336:
1323:
1307:
1291:
1277:
1276:Obituary in
1275:
1270:
1269:
1264:
1263:Obituary in
1262:
1257:
1256:
1252:Film Comment
1251:
1250:
1245:
1244:
1239:
1235:
1233:
1228:
1224:
1222:
1217:
1213:
1211:
1206:
1202:
1200:
1190:
1186:
1184:
1176:
1173:Publications
1163:
1151:
1139:
1127:
1117:
1116:
1108:
1096:
1082:
1081:
1069:
1061:
1053:
1045:
1039:
1031:
1023:
1015:
1007:
999:
991:
983:
975:
967:
959:
951:
943:
935:
927:
919:
911:
903:
895:
889:
881:
873:
865:
857:
849:
841:
833:
825:
817:
809:
801:
793:
787:Storm Center
785:
777:
769:
761:
755:
749:Human Desire
747:
739:
731:
725:
717:
709:
701:
693:
685:
677:
669:
661:
653:
645:
637:
629:
621:
613:
605:
597:
589:
581:
575:
569:
561:
553:
545:
537:
531:
523:
517:
509:
503:Night Editor
501:
493:
485:
477:
471:
465:
459:
451:
443:
435:
427:
421:
415:
409:
403:
397:
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383:
371:
367:
363:
359:
344:
335:
316:
289:
283:
276:
260:
254:
246:
243:
240:
236:
232:
228:
224:
220:
216:
209:
203:
197:
184:
183:
174:
167:
161:
154:
143:
72:(1983-05-30)
70:May 30, 1983
55:May 26, 1905
2342:1983 deaths
2337:1905 births
2226:Mauro Fiore
2184:Conrad Hall
2155:Conrad Hall
2101:Dean Semler
1992:John Alcott
1846:Sam Leavitt
1609:Karl Freund
1603:Tony Gaudio
1551:Karl Struss
1118:Nominations
1070:The Steagle
937:Kid Galahad
377:Filmography
208:(1953) and
198:He won two
2326:Categories
2202:Dion Beebe
2137:John Seale
1780:John Alton
1579:Lee Garmes
1472:Film Noirs
1407:2024-04-24
1351:2024-04-24
1284:References
771:Tight Spot
703:The Sniper
338:April 2024
51:1905-05-26
2161:Peter Pau
2131:John Toll
2125:John Toll
2002:1976â2000
1934:Ted Moore
1765:1951â1975
1713:Guy Green
1540:1928â1950
1091:: Oscar,
1009:The Split
921:Homicidal
835:Nightfall
647:Convicted
286:film noir
257:John Ford
139:Relatives
1669:Hal Mohr
1597:Hal Mohr
1483:Spike TV
1437:AllMovie
1381:Archived
1316:AllMovie
1187:King Rat
1177:Source:
1165:King Rat
969:King Rat
294:(1950).
214:(1967).
123:Children
1444:at the
1265:Variety
687:Sirocco
324:Please
2312:(2023)
2306:(2022)
2300:(2021)
2294:(2020)
2288:(2019)
2282:(2018)
2276:(2017)
2270:(2016)
2264:(2015)
2258:(2014)
2252:(2013)
2246:(2012)
2240:(2011)
2234:(2010)
2228:(2009)
2222:(2008)
2216:(2007)
2210:(2006)
2204:(2005)
2198:(2004)
2192:(2003)
2186:(2002)
2180:(2001)
2163:(2000)
2157:(1999)
2151:(1998)
2145:(1997)
2139:(1996)
2133:(1995)
2127:(1994)
2121:(1993)
2115:(1992)
2109:(1991)
2103:(1990)
2097:(1989)
2091:(1988)
2085:(1987)
2079:(1986)
2073:(1985)
2067:(1984)
2061:(1983)
2055:(1982)
2045:(1981)
2039:(1980)
2029:(1979)
2023:(1978)
2017:(1977)
2011:(1976)
1994:(1975)
1988:(1974)
1978:(1973)
1972:(1972)
1966:(1971)
1960:(1970)
1954:(1969)
1948:(1968)
1942:(1967)
1936:(1966)
1926:(1965)
1916:(1964)
1906:(1963)
1896:(1962)
1882:(1961)
1872:(1960)
1862:(1959)
1852:(1958)
1842:(1957)
1836:(1956)
1826:(1955)
1816:(1954)
1806:(1953)
1796:(1952)
1782:(1951)
1757:(1950)
1747:(1949)
1737:(1948)
1733:, and
1719:(1947)
1709:(1946)
1705:, and
1691:(1945)
1681:(1944)
1671:(1943)
1661:(1942)
1651:(1941)
1641:(1940)
1631:(1939)
1617:(1938)
1611:(1937)
1605:(1936)
1599:(1935)
1593:(1934)
1587:(1933)
1581:(1932)
1575:(1931)
1569:(1930)
1559:(1929)
1553:(1928)
1189:," in
1168:, 1966
1156:, 1963
1144:, 1957
1132:, 1950
1113:, 1968
1101:, 1954
1095:, for
1078:Awards
1072:(1971)
1066:(1970)
1058:(1970)
1050:(1970)
1042:(1969)
1036:(1969)
1028:(1969)
1020:(1969)
1012:(1968)
1004:(1967)
996:(1967)
988:(1967)
980:(1966)
972:(1965)
964:(1964)
956:(1964)
948:(1962)
940:(1962)
932:(1961)
924:(1961)
916:(1961)
908:(1960)
900:(1960)
892:(1960)
886:(1959)
883:Gidget
878:(1959)
870:(1959)
862:(1958)
854:(1958)
846:(1958)
838:(1957)
830:(1957)
822:(1957)
814:(1957)
806:(1956)
798:(1956)
790:(1956)
782:(1955)
774:(1955)
766:(1955)
758:(1955)
752:(1954)
744:(1954)
736:(1954)
728:(1953)
722:(1953)
714:(1952)
706:(1952)
698:(1952)
690:(1951)
682:(1951)
674:(1951)
666:(1950)
658:(1950)
650:(1950)
642:(1950)
634:(1949)
626:(1949)
618:(1949)
610:(1949)
602:(1949)
594:(1948)
586:(1948)
578:(1948)
572:(1948)
566:(1948)
558:(1947)
550:(1947)
547:Framed
542:(1946)
534:(1946)
528:(1946)
520:(1946)
514:(1946)
506:(1946)
498:(1946)
490:(1946)
482:(1945)
474:(1945)
468:(1945)
462:(1945)
456:(1945)
448:(1945)
440:(1945)
432:(1944)
424:(1944)
418:(1944)
412:(1944)
406:(1944)
400:(1944)
394:(1929)
388:(1928)
251:Career
189:A.S.C.
151:Awards
131:Parent
115:Spouse
108:A.S.C.
98:A.S.C.
89:Burney
80:, U.S.
61:, U.S.
1487:iFilm
1238:, in
1227:, in
1216:, in
298:Style
173:1968
160:1954
94:Title
2051:and
2035:and
1984:and
1888:and
1792:and
1778:and
1627:and
1565:and
1549:and
1428:IMDb
1300:IMDb
1083:Wins
67:Died
41:Born
1495:at
1458:at
1435:at
1426:at
1314:at
1298:at
1234:On
1205:in
2328::
1932:/
1922:/
1912:/
1902:/
1892:/
1878:/
1868:/
1858:/
1848:/
1832:/
1822:/
1812:/
1802:/
1788:/
1774:/
1753:/
1743:/
1729:,
1725:/
1715:/
1701:,
1697:/
1687:/
1677:/
1667:/
1657:/
1647:/
1637:/
1623:/
1400:.
1344:.
1327:*
202::
195:.
187:,
1525:e
1518:t
1511:v
1489:)
1485:(
1410:.
1354:.
1318:.
1302:.
351:)
345:(
340:)
336:(
332:.
264:.
53:)
49:(
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