▁at ▁R K O ▁during ▁the ▁ 1 9 4 0 s , ▁Mus ur aca ▁sh utt led ▁back ▁and ▁forth ▁between ▁A - ▁and ▁B - fil ms , ▁prest ige ▁pictures , ▁and ▁genre ▁pot bo ilers . ▁For ▁this ▁reason , ▁and ▁because ▁many ▁of ▁the ▁motion ▁pictures ▁photograph ed ▁by ▁Mus ur aca ▁have ▁att ained ▁a ▁classic ▁or ▁land mark ▁status ▁only ▁recently , ▁he ▁remains ▁a ▁neglect ed ▁master . ▁ ▁Al ong ▁with ▁Gre gg ▁Tol and ' s ▁work ▁on ▁Cit izen ▁K ane ▁( 1 9 4 1 ), ▁Mus ur aca ' s ▁cinemat ography ▁for ▁Str anger ▁on ▁the ▁Third ▁F loor ▁( 1 9 4 0 ) ▁defined ▁the ▁visual ▁convent ions ▁for ▁the ▁film ▁no ir ▁and ▁cod ified ▁the ▁R K O ▁look ▁for ▁the ▁ 1 9 4 0 s . ▁Mus ur aca ' s ▁phot ography ▁begins ▁and ▁ends ▁with ▁sh adows , ▁ow ing ▁a ▁major ▁deb t ▁to ▁German ▁Expression ism , ▁and ▁can ▁be ▁seen ▁as ▁the ▁leading ▁factor ▁in ▁the ▁res urre ction ▁of ▁the ▁style ▁in ▁Hollywood ▁in ▁the ▁ 1 9 4 0 s . ▁The ▁dominant ▁tone ▁in ▁his ▁work ▁is ▁black , ▁a ▁sty list ic ▁bias ▁that ▁l ent ▁itself ▁to ▁the ▁film ▁no ir ▁and ▁the ▁mo ody ▁horror ▁films ▁of ▁Val ▁Lew ton . ▁ ▁But ▁even ▁within ▁the ▁conf ines ▁of ▁the ▁studio ▁system ▁Mus ur aca ▁succeeded ▁in ▁trans pos ing ▁his