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Peter’s picture was the first studio film in years to be shot in black and white, not for financial reasons, but artistic ones. While after Bogdanovich, a few other filmmakers shot feature-films in black and white, but with a few exceptions, Bob Fosse’s Lenny and Joan Micklin Silver’s Hester Street, it was almost always done to better approximate the genre the film took place in. Mel Brooks shoots Young Frankenstein in black and white to invoke the Universal monster movies of the thirties. His buddy Carl Reiner shoots Dead Men Don’t Wear Plaid in black and white to match up with the forties film noir clips they use. Even Martin Scorsese’s Raging Bull uses its black and white photography to invoke New York street classics of the thirties, forties, and fifties, as well as classic boxing pictures like Body and Soul, The Champ, and The Set-Up (and to make it look different from Rocky).