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Books on the topic 'Camerawork'

Author: Grafiati

Published: 2 July 2021

Last updated: 15 February 2022

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1

Ward, Peter. Multi-camera Camerawork. Oxford: Focal Press, 1997.

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2

Multi-camera Camerawork. Boston, USA: Focal Press, 1997.

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3

Basic Betacam camerawork. Oxford: Focal Press, 1994.

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4

1936-, Ward Peter, ed. Basic Betacam and DVCPRO camerawork. 2nd ed. Oxford: Focal Press, 1998.

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5

Aguilera, Steven. A new perspective: A new and essential understanding of perspective applicable to : directing, camerawork, visual effects, set design and setting up shots. El Sobrante, Calif: Artistech Books, 2008.

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6

Burrows, Thomas D. Video production: Disciplines and techniques. 7th ed. Boston, Mass: McGraw-Hill, 1998.

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7

Divia, Patel, ed. Cinema India: The visual culture of Hindi film. New Brunswick, N.J: Rutgers University Press, 2002.

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8

Dwyer, Rachel. Cinema India: The visual culture of Hindi film. New Delhi: Oxford University Press, 2002.

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9

Dwyer, Rachel. Cinema India: The visual culture of Hindi film. London: Reaktion Books, 2002.

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10

David, Mullen M., ed. Cinematography: A guide for filmmakers and film teachers. 3rd ed. New York: Simon & Schuster, 2005.

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11

Malkiewicz, J. Kris. Cinematography. 2nd ed. New York: Prentice Hall Press, 1989.

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12

The camera assistant: A complete professional handbook. Boston: Focal Press, 1996.

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13

The art of the storyboard: Storyboarding for film, TV, and animation. Boston: Focal Press, 1999.

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14

J, Fink Edward, and Tanquary Tom, eds. Portable video: ENG & EFP. 5th ed. Oxford: Focal, 2007.

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15

Medoff, Norman J. Portable video: ENG and EFP. 4th ed. Boston, Mass: Focal, 2002.

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16

Medoff, Norman J. Portable video: ENG and EFP. 4th ed. Boston: Focal Press, 2001.

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17

Tom, Tanquary, ed. Portable video: ENG and EFP. White Plains, NY: Knowledge Industry Publications, 1986.

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18

Tom, Tanquary, ed. Portable video: ENG and EFP. 2nd ed. White Plains, NY: Knowledge Industry Publications, 1992.

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19

Tom, Tanquary, ed. Portable video: ENG and EFP. 3rd ed. Boston: Focal Press, 1998.

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20

Heilbrun, Françoise. Camerawork (Photofile). Thames & Hudson Ltd, 1991.

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21

Peter, Ward. Basic Betacam Camerawork. Taylor & Francis Group, 2017.

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22

Peter, Ward. Digital Video Camerawork. Taylor & Francis Group, 2016.

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23

Ward, Peter. Digital Video Camerawork. Routledge, 2012. http://dx.doi.org/10.4324/9780080504575.

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24

Ward, Peter. Basic Betacam Camerawork. Routledge, 2013. http://dx.doi.org/10.4324/9780080493992.

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25

Peter, Ward. Studio and Outside Broadcast Camerawork. Taylor & Francis Group, 2016.

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26

Ward, Peter. Studio and Outside Broadcast Camerawork. Routledge, 2001. http://dx.doi.org/10.4324/9780080518084.

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27

Studio and Outside Broadcast Camerawork (Media Manuals). 2nd ed. Focal Press, 2001.

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28

Stieglitz, Alfred. Alfred Stieglitz: Camerawork; Postcard Book: Postcard Book. Pomegranate Communications, 1992.

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29

WARD, PETER. Digital Video Camerawork (Media Manuals) (Media Manuals). Focal Press, 2000.

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30

Basic Betacam Camerawork, Third Edition (Media Manuals). 3rd ed. Focal Press, 2001.

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31

(Editor), Jessica Evans, and Barbara Hunt (Introduction), eds. The Camerawork Essays: Context and Meaning in Photography. Rivers Oram Press, 1997.

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32

Jessica, Evans, ed. The camerawork essays: Context and meaning in photography. London: Rivers Oram Press, 1997.

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33

The Camerawork Essays: Context and Meaning in Photography. Rivers Oram Press, 1997.

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34

Clayton, Wickham. SEE! HEAR! CUT! KILL! University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830319.001.0001.

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SEE! HEAR! CUT! KILL!: Experiencing Friday the 13^th, is the first book entirely devoted to the analysis of the Friday the 13 ^th franchise. The story a film tells is usually filtered through a particular perspective, or point of view. This book argues that slasher films, and the Friday the 13^th movies particularly, use all the stylistic tools at their disposal to create a complex and emotionally intense approach to perspective, which develops and shifts across the decades. Chapter one discusses the history of perspective in horror, and the different critical conversations around this. Chapter two looks at the use of camerawork, specifically point-of-view camerawork in the way these films visually communicate perspective. The fourth chapter talks about the way sound and editing work together to communicate perspective and experience in the death sequences these movies capitalize upon. The fourth chapter considers the perspective of viewers, and how each movie speaks to viewers who are either familiar or unfamiliar with the ongoing story in the series. The final chapter first explains how these trends look across a chronological timeline, and what this tells us about the historical development of perspective before looking at the influence these stylistic approaches have had on ‘serious’ film, particularly those recognized by the Hollywood critical establishment.

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35

Hockney, David. David Hockney Cameraworks. Thames & Hudson, 1995.

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36

Winkler, Kevin. Willkommen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0007.

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This chapter describes the international success of Bob Fosse’s film version of Cabaret in 1972, which kicked off the busiest, most productive decade of his career. The mood of the decade was reflected in both his life and his work. Fosse’s film jettisoned most of Cabaret’s score for numbers performed only onstage, thus refining the show’s use of performance to comment on dramatic reality. The hyperactive camerawork he was criticized for in Sweet Charity was refined and focused. Cabaret found parallels between the chaos and national crisis of identity in pre-Nazi Germany and contemporary anxieties over the continuing Vietnam War. Liza with a Z, starring Liza Minnelli and filmed by multiple cameras before a live audience in a Broadway theater, brought the kinetic energy of a live performance to this musical concert for television.

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37

Gross, Lynne S., Thomas D. Burrows, and Donald N. Wood. Video Production: Disciplines and Techniques. 7th ed. William C Brown Pub, 2000.

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38

Luminita, Sabau, and Ludwig Muzeum (Budapest Hungary), eds. Dialogues & attitudes. Ostfildern: Hatje Cantz, 2007.

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39

Luminita, Sabau, and Ludwig Múzeum (Budapest Hungary), eds. Dialogues & attitudes. Ostfildern: Hatje Cantz, 2007.

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40

Baksa-Soos, Veronika, Josef Tillmann, and Hubert Beck. Concept: Photography, Dialogues and Attitudes. Hatje Cantz, 2007.

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41

Winkler, Kevin. Rhythm of Life. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199336791.003.0006.

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This chapter describes Bob Fosse’s film Sweet Charity, which opened at the top of 1966 and was a compendium of then-current styles and sexual attitudes. Fosse conceived this American adaptation of Federico Fellini’s film Nights of Cabiria (1957) as a vehicle for Gwen Verdon, changing the title character from Roman prostitute to New York City dance hall hostess. He wrote several drafts of the show’s book before relinquishing those duties to Neil Simon. Nonetheless, in Sweet Charity, Fosse’s authorial voice was much in evidence. His staging exhibited a new fluidity, as well as a dark, ambivalent view of sexuality. Sweet Charity was also the vehicle by which Fosse would return to movies, this time as a director. Although full of arresting moments, the film was deemed too busy and full of gimmicky, self-conscious camerawork. Sweet Charity was a commercial and critical failure, but it allowed Fosse to explore the camera’s potential in presenting dance on film.

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42

Impossible Document (Camerawords S.). Camerawork, 1997.

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43

Patel, Divia, and Rachel Dwyer. Cinema India (Envisioning Asia). Reaktion Books, 2002.

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44

Curti, Roberto. Blood and Black Lace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781911325932.001.0001.

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Mario Bava's Blood and Black Lace (1964) is a legendary title, and is commonly considered as the archetypal giallo. A murder mystery about a faceless and menacing killer stalking the premises of a luxurious fashion house in Rome, Blood and Black Lace set the rules for the genre: a masked, black-gloved killer, an emphasis on graphic violence, elaborate and suspenseful murder sequences. But Blood and Black Lace is first and foremost an exquisitely stylish film, full of gorgeous color schemes, elegant camerawork, and surrealistic imagery, testimony of Bava's mastery and his status as an innovator within popular cinema. This book recollects Blood and Black Lace's production history, putting it within the context of the Italian film industry of the period and includes plenty of previously unheard-of data. It analyzes the film's main narrative and stylistic aspects, including the groundbreaking prominence of violence and sadism and its use of color and lighting, as well as Bava's irreverent approach to genre filmmaking and clever handling of the audience's expectations by way of irony and pitch-black humor. The book also analyzes Blood and Black Lace's place within Bava's oeuvre, its historical impact on the giallo genre, and its influential status on future filmmakers.

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45

The Impossibility of Art Education (Camerawords). Camerawork, 1999.

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46

Malkiewicz, Kris, and M. David Mullen. Cinematography: Third Edition. 3rd ed. Fireside, 2005.

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47

Products and promotion: Art, advertising and the American dream : [exhibition] SF Camerawork, San Francisco, California, September 4-October 4, 1986, University Gallery of Fine Art, Ohio State University, Columbus, Ohio, April 30-May 31, 1987, Franklin Furnace, New York, New York, Winter 1987. [San Francisco, Calif.]: SF Camerawork, 1986.

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48

Stollery, Martin, and Roy Perkins. British Film Editors: The Heart of the Movie. British Film Institute, 2004.

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49

Fullerton, Edited by John, and Astrid Sderbergh Widding. Moving Images: From Edison to the Webcam. Indiana University Press, 2001.

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50

1949-, Fullerton John, and Söderbergh-Widding Astrid, eds. Moving images: From Edison to the webcam. London: John Libbey, 1999.

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