Felicia is joined by Seth Vargas to discuss Arthur C. Miller’s brooding camera as it follows Jimmy Ringo in The Gunfighter (1950).

Felicia is joined by Darragh McGrath to discuss the harsh reality that Arthur C. Miller paints in The Prowler (1951).

Felicia is joined by Bryan Loomis to discuss Arthur C. Miller’s imprint on one of cinema’s greatest achievements in cinematography, How Green Was My Valley (1941).

Felicia is joined by Cethan Leahy to discuss the importance of Arthur C. Miller’s black and white photography in Dragonwyck (1946).

Felicia is joined José Roldan to discuss Gordon Willis’ work on Woody Allen’s controversial but groundbreaking film, Zelig (1983).

Felicia is joined by Martin Kessler to discuss Gordon Willis’ photography that would shape the rest of 1970s American cinema, in Hal Ashby’s The Landlord (1970).

Felicia is joined by Ryan Ritter to chat about Gordon Willis’ dark imagery in Alan J. Pakula’s detective thriller in Klute (1971).

Felicia is joined by Bryan Loomis and Hannah Loomis to discuss Gordon Willis’ visual take on the Watergate scandal in Alan J. Pakula’s All the President’s Men (1976).