From Birth of a Nation to Blade Runner, from Gone with the Wind to GoodFellas, this feast for the eyes spans nearly a century with sequences from more than 125 movies made immortal by the artful use of light and shadow to realize the director's vision. William Fraker, who shot Rosemary's Baby, recalls filming the scene in which Ruth Gordon's sinister character is seen in a bedroom talking on the phone at the far end of a corridor. Director Roman Polanski suggested that Fraker move his camera so her body would be concealed by a door and audiences could only see her back. Fraker remembers later watching this scene in theaters and seeing the audiences shift in their seats trying to peek around the door. --Donald Liebenson