I chose the films below because of the way they are lit, not because of camera moves. You may want to see these and others again with a critical eye. I had to leave out some great cinematographers, but here are a few excellent ones.

Apocalypse Now. Cinematographer: Vittorio Storaro. Storaro shows many extreme looks and still doesn't distract the viewer from the story. You can watch this with the sound off. In fact, this applies to all of my examples.

The Godfather, part II. Cinematographer: Gordon Willis. (What You Talkin' 'Bout) Willis did an amazing job of capturing dark scenes to reflect the story, and add a touch of realism.

Butch Cassidy and the Sundance Kid. Cinematographer: Conrad Hall. Look at how Hall lit night scenes and used motivated light.

The Secret of Roan Inish. Cinematographer: Haskell Wexler. Not only is it beautiful, but look at how Wexler motivated most of the light used in interiors as coming from daylight. He also used daylight in its many colors.

The City of Lost Children. Cinematographer: Darius Khondji. Khondji does wonderful things with color, but in this film, try watching it in black and white to see how he used depth of field and composition to focus your attention.

Citizen Kane. Cinematographer: Gregg Toland. Much to appreciate, but pay close attention to the compositions. Many shots would look wonderful as still photos. Look at how he arranged actors and objects to create lines for your eyes to follow. This shows how you don't have to rely just on light to focus attention. Toland also shot many scenes with deep focus, requiring a lot of light.

Chinatown. Cinematographer: John Alonzo. Notice how Alonzo has many high key and overhead lit shots and still makes them beautiful. The gold and brown palette are gorgeous.

Matters of Light and Depth, by Ross Lowell
Easy to read and a good glossary.

Film Lighting, by Kris Malkiewicz
More advanced topics, with interesting discussions with several excellent cinematographers.

American Cinematography Video Manual, edited by Michael Grotticelli
Dense, but a good reference, and it has articles explaining how video works.

American Cinematographer Manual, edited by Rob Hummel
Also dense, but an excellent reference, and helpful depth of field tables.

Sight, Sound, Motion: Applied Media Aesthetics, by Herbert Zettl
Assigned reading for many film and video classes on the theory behind filmmaking

Basic Lighting for DV, by John Jackman.
Actually, a tape. I haven't seen it, but Jackman writes good articles for DV Magazine regularly.

http://www.dv.com
DV filmmaking tips with a lighting forum.

http://www.bhphoto.com
Good and reliable source for film and video equipment (In New York City).

http://www. markertek.com
Good and reliable source for new grip equipment (In Saugerties, New York)

http://www.lowel.com
It has an on-line catalog of all of their toys.

http://www.arri.com
Product information for Arri lights.

http://www.mopacmedia.com
The most affordable rentals for DV filmmaking in Austin. Disclaimer: Mopac Media is also run by a good friend of mine.

http://www.gearrental.com
Professional, but still friendly local source for renting HMIs and other gear, as well as purchasing grip equipment. Some of their rentals, however, require that you have production insurance.

http://www.austinfilmtools.com
More affordable rentals for DV filmmaking in Austin. Disclaimer: Austin Film Tools is also run another friend of mine. It falls somewhere between Mopac Media and Gear.

http://www.pro-tape.com
Friendly, inexpensive source for tapes and gels, and even camcorders and tripods.