Relevant bibliographies by topics / Cinematographers

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cinematographers'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Cinematographers"

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Lotman, Elen, Mati Mõttus, and Pia Tikka. "Cinematographers’ Perceptual Professionalization from Novices to Experts: Observations from an Eye-tracking Case Study." Baltic Screen Media Review 11, no. 1 (December 1, 2023): 172–97. http://dx.doi.org/10.2478/bsmr-2023-0010.

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Abstract Cinematographers represent a group of experts whose professional skills depend to a great extent on their visual perceptual abilities. By the term perceptual professionalization, we emphasize the embodied dynamics of perceptual learning processes that shape the ways in which cinematographers make creative decisions during their daily practices. Novice cinematographers are initiated in film schools and during assisting jobs to a range of technical skills required for working as heads of the camera department in film productions. However, honing one’s perceptual skills as a professional cinematographer is nothing less than a lifelong process. While scientific studies show evidence for behavioral and physiological differences between experts and novices in many different fields, so far no such studies exist between professional cinematographers and novices. As a starting point for studying how cinematographers’ perceptual learning evolves from the level of novice to that of experienced professional, we assumed that the different expertise levels of cinematographers can be observed in the way they view moving images. We then conducted an eye-tracking case study where we identified differences in the gaze patterns between film professionals with different levels of expertise in cinematography during viewing a film trailer. As the experiential heuristics of creative decision-making of professional cinematographers largely rely on the practical skills accumulated in film work, in order to gain access to such knowledge, we also report how involving a practicing cinematographer both in designing the study and in analyzing the results provided us new insights to the topic under scrutiny. Based on our findings, a new study protocol is proposed.
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Bagherzadeh, Majid, Elyas Sanati, and Masoud Naghipour. "Exposing the world through Emanuel Lubezki's method." CINEJ Cinema Journal 11, no. 1 (October 20, 2023): 193–215. http://dx.doi.org/10.5195/cinej.2023.447.

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This article is based on the concept of exposing the world through the lens of cinema by a cinematographer. Without a cinematographer, movies are not as visually and emotionally impactful on audiences. Cinema is trying to penetrate beyond things and create an utterly phenomenological experience. Cinematographers are responsible for creating the audience's emotions through various cinematic techniques. It is perhaps one of their most significant roles is to promote the cinematic frame as a mediator. This research claims that the cinema’s camera illuminates the world through focusing and framing components. It provides the cinematic image with a cinematic presence and makes it feasible in a phenomenological sense (return to things themselves). And eventually, this leads to viewer buoyancy and immersiveness.
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Miyao, Daisuke. "What’s the Use of Culture? Cinematographers and the Culture Film in Japan in the Early 1940s." Arts 8, no. 2 (March 27, 2019): 42. http://dx.doi.org/10.3390/arts8020042.

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In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly questioned in those conversations due to the mechanical nature of the motion picture camera. This article mainly focuses on the discussions in the journal Eiga Gijutsu (Film Technology) in 1941–1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema.
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Smailova, Inna. "Three Generations of Kazakh Cinematographers." Studies in Russian and Soviet Cinema 4, no. 2 (July 2010): 191–95. http://dx.doi.org/10.1386/srsc.4.2.191.

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Brako, Daniel Kofi. "COVID-19, “Roll Camera and Action”: Filming culture of a Ghanaian Cinematographer in a Pandemic Era." Research Journal in Advanced Humanities 3, no. 3 (August 8, 2022): 78–88. http://dx.doi.org/10.58256/rjah.v3i3.844.

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With the outbreak of the COVID-19 pandemic, filmmaking and filmmakers have been affected most across the globe. Predominantly, it has not only changed execution of the role of Cinematographers on film sets during the filmmaking process, but also has certain repercussions on the profession as far as filmmaking is concerned. Based on this situation, this study examines how Ghanaian Cinematographers observe protocols on set when filming during the pandemic. In addition, it considers some effects of COVID-19 pandemic on the Cinematography profession in this part of our world as far as filmmaking is concerned. Findings indicate that personal hygiene, which was disregarded during filming in the past has now become a daily ritual before a camera roll on film sets. It is noted that in spite of some participants being cautious during filming on set caught the disease in one way or the other. Despite its negative effects, it has also introduced various avenues that serve as new opportunities to enhance the Cinematography profession locally. Also, it has introduced alternative ways of capturing images to enable effective visual storytelling on screen. Based on these findings, it recommends that Cinematographers in Ghana should continue to adhere to the conventions and observe protocols to avoid contracting the virus. Also, Cinematographers should accept the situation that we are in the new normal and should further explore current strategies in filming.
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Taras, Katarzyna. "Operatorzy Felliniego." Załącznik Kulturoznawczy, no. 9 (2022): 463–76. http://dx.doi.org/10.21697/zk.2022.9.23.

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In this essay I am attempting at a description of the phenomenon of communication and relationship between Federico Fellini and his cinematographers. Their background was Italian neorealism, but they could create unrealistic reality in Fellini’s movies. The most important thing for me was “who was influenced by whom”? Fellini by his cinematographers, or the great DPs by the Maestro. I discuss the neorealistic context of Polish movies too, since the influence of Italian neorealism is noticed in the Polish Film School movies, especially in Andrzej Wajda’s debut.
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Mazur, Daria. "Między kosmopolityzmem a nazizmem – konteksty przestrzeni symbolicznych czterech filmów nakręconych przez niemieckiego operatora Franza Weihmayra." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 27, no. 36 (December 15, 2020): 21–40. http://dx.doi.org/10.14746/i.2020.36.02.

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The paper is a comparative analysis of the circumstances influencing symbolic spaces in four movies by Franz Weihmayr in the years 1931–1942: Dzikie Pola [Wild Fields], Halutzim, La Habanera and The Great Love. The analysis allows for delineating the development of the German cinematographer Franz Weihmayr’s career, which, in the context of historical-political and ideological-artistic circumstances, can serve as an example of a broader phenomenon: a particular fluctuation of choices made by German cinematographers over the Weimar, Nazi, and post-war periods. This analysis is of pioneering importance because of the paucity of publication heretofore dedicated to Weihmayr’s works, who at the time worked together with, among others, Leni Riefenstahl, Frank Wysbar, and Hans Detlef Sierck, as well as Polish directors, such as Józef Lejtes and Aleksander Ford. The framework for semiotic analyses of the symbolic spaces of the movies mentioned above are two groups of contexts connected with ideas stemming from contradictory bases: the idea of cosmopolitism and the idea of Nazism.
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Clark, Curtis, David Reisner, David Stump, Lou Levinson, Glenn Kennel, Grover Crisp, Gary Demos, and Marty Ollstein. "American Society of Cinematographers (ASC) Technology Committee." SMPTE Motion Imaging Journal 115, no. 9 (September 2006): 316–22. http://dx.doi.org/10.5594/j16148.

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Clark, Curtis, Daryn Okada, David Reisner, Dave Stump, Richard Edlund, Lou Levinson, Joshua Pines, et al. "American Society of Cinematographers (ASC) Technology Committee Report." SMPTE Motion Imaging Journal 117, no. 6 (September 2008): 43–55. http://dx.doi.org/10.5594/j15060.

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Clark, Curtis, Michael Goi, David Reisner, David Stump, Richard Edlund, John Bailey, Lou Levinson, et al. "American Society of Cinematographers Technology Committee Progress Report." SMPTE Motion Imaging Journal 119, no. 6 (September 2010): 33–46. http://dx.doi.org/10.5594/j12194.

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Dissertations / Theses on the topic "Cinematographers"

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Robinson, Kelly. "British international pictures and the influence of German cinematographers (1927-1936)." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.444222.

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Nelson, K. E. "A compilation of information about the life of Robert Kates Bonine, 1862-1923 : with an examination of his early years in photography and film /." Online version of thesis, 1989. http://hdl.handle.net/1850/11373.

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Morales, Andrés Felipe. "Collaboration between the Cinematographer and Actor." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202908.

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Kmins, Jurgis. "The Cinematographer´s Role in Digital Century." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-251434.

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Martin, Ryan. "A Practical Study of the Role of the Cinematographer." ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/227.

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The following thesis describes the development and process of the responsibilities and skills necessary for a director of photography in the motion picture industry. Pre-production and production aspects pertaining to experiences as a cinematographer are covered. Furthermore, the progression of learning about the field of cinematography is explained through personal examples of logistical, technical, and artistic requirements on both short and feature student films. Storyboards are included in the appendices.
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Cortes, Laura Camila. "Case Studies of the Influence of Painting on the Cinematographer´s Work." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-263332.

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NOVAES, ALINE DA SILVA. "JOÃO DO RIOS CINEMATOGRAPHIES: THE CHRONICLE-REPORT AND THE LETTER CINEMATOGRAPHY." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=15147@1.

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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
Esta dissertação volta-se para o estudo da coluna Cinematographo, publicada semanalmente de 11 de agosto de 1907 a 19 de dezembro de 1910 na Gazeta de Notícias, e do livro homônimo (1909), produções de Paulo Barreto. Tendo em vista que o livro não é simplesmente a reunião de textos publicados na coluna, como parece ser em um primeiro momento, a pesquisa deseja refletir sobre a não inserção de tais colunas no livro homônimo. Uma tentativa de compreensão e, sobretudo, averiguação da questão do suporte que se torna marca da diferença do que o escritor acredita ser jornal e do que pretende seja arte. Neste sentido, revela-se uma concepção de livro que transcende a matéria meramente jornalística e a cultura de massa, pois, com a mudança de suporte, as crônicas escolhidas se afastam da efemeridade dos jornais e se tornam arte. Acredita-se que, desta forma, além de analisar as representações da capital federal na coluna durante uma época de grandes transformações, será possível estudar a organização do volume Cinematographo e suas relações com as crônicas publicadas no jornal, para também verificar que a mudança de suporte material – do jornal para o livro – altera os seus significados. Trata-se, assim, de compreender uma cinematografia das letras.
This paper focuses on the study of the column Cinematographo, published weekly from August 11, 1907 until December 19, 1910 in Gazeta de Notícias, and its homonym book (1909), both Paulo Barreto’s publications. Considering that the book is not just a collection of published columns in the newspaper, what may seem the case at first, this work wants to reflect about the non-inclusion of such columns in his book. This paper pretends to comprehend and, moreover, investigate the presence of the kind of media, which becomes a mark of the difference between what the author considers to be newspaper work and what he believes to be art. This way, his book reveals a conception that transcends the journalistic field and the mass culture: by changing the media used, he manages to transform the chosen chronicles from the newspaper frailty to art. Besides analyzing the representations of the Federal District in João do Rio’s columns during an era of great changes, it will be possible to study the Cinematographo’s organization and its relation to the published chronicles in the newspaper. Also, it may be possible to verify that the change of media – from the newspaper to the book – modifies their meaning. It is, therefore, an effort in order to understand the letter cinematography.
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Williams, Tomas Rhys. "Tricks of the light : a study of the cinematographic style of the émigré cinematographer Eugen Schüfftan." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3598.

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The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). During the course of this thesis I shall examine the evolution of Schüfftan’s style, and demonstrate how Schüfftan has come to be misunderstood as a cinematographer of German Expressionism. The truth, as I will show, is far more complex. Schüfftan also struggled throughout his career to cope with the consequences of exile. In this thesis I will also therefore examine the conditions of exile for an émigré cinematographer, and in particular Schüfftan’s prevention from joining the American Society of Cinematographers. I intend to demonstrate how an understanding of cinematographic style can shed new light on a film, and to give renewed attention to an important cinematographer who has been largely ignored by film history.
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Mo, Seng-yeuy (Alex). "Cinematographs contextualising historical, political and philosophical influences on the development of education in Vietnam." Curtin University of Technology, School of Management, 2003. http://espace.library.curtin.edu.au:80/R/?func=dbin-jump-full&object_id=13830.

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It is arguable that at all times the long-term prosperity of a nation is inextricably linked to its educational system, especially of higher education. This study of Vietnam's educational structure and system is both unique and necessary. It provides detailed information and considerable analysis not previously available to readers outside Vietnam. As a historical study, it covers aspects of more than 2,000 years of the country's educational developments, from the invasion of China in 111 B.C. to the present. The study is divided into six chapters, each of which deals with a major period of time. Each chapter is self-contained. Historical background and essential materials are presented and analysed. The writing of historical events is based on chronological order. Vietnam was a country without written language before the coming of the Chinese who, in their invasion of Vietnam in 111 B.C., brought with them their civilization, culture, educational system and language. The introduction of Chinese language to Vietnam can be taken as the overture of Vietnamese education. The first two chapters provide detailed information and historical factors as to how an early educational system of Vietnam was established under the influence of China and through its impact of education on the formation of a Confucian political system and Confucian society, which continued to exist for over 2,000 years. The political decline of China in the late 19th century provided the opportunity for the French to enter Vietnam and finally replace the Chinese sovereignty over the country in 1885. The invasion and ruling of the French (1886-1954) brought forward significant changes in Vietnam politically, socially and educationally.
The French introduced a new, modem educational system to Vietnam and set up an elite colonial educational system which had a great impact on Vietnamese society as well as its education. Traditional Chinese education and its imperial examination system commenced to fade out in Vietnam from the early 20th century and came to an end in 1917. During this colonial period, Western ways of thinking and culture began to flow into Vietnam and continued thenceforth. With the division of the country into North and South as separate regimes under the Geneva Accords in 1954, the educational systems of each regime developed under different political systems and different ideologies from 1955-1975. In the North, the educational system was totally reformed according to Communist doctrine while in the South, education continued to develop in the Western ways. The world-known Vietnam War ended in April 1975. However, the unification of the North and South failed to be effected in many aspects due to varied ideologies and political systems. During the period of 1975-85 Vietnam underwent a transitional reform of education in the South, which continued up to the practice of the nation's `open-door policy' starting from 1987. Narration of a significant profile of attributes of Vietnam's system of education today is fully sketched. The concluding chapter comprises two major parts; the summing up and a general review on Vietnam's educational system and practices, together with some of the issues evident in the system at present.
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Mo, Seng-Yeuy (Alex). "Cinematographs contextualising historical, political and philosophical influences on the development of education in Vietnam." Thesis, Curtin University, 2003. http://hdl.handle.net/20.500.11937/976.

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It is arguable that at all times the long-term prosperity of a nation is inextricably linked to its educational system, especially of higher education. This study of Vietnam's educational structure and system is both unique and necessary. It provides detailed information and considerable analysis not previously available to readers outside Vietnam. As a historical study, it covers aspects of more than 2,000 years of the country's educational developments, from the invasion of China in 111 B.C. to the present. The study is divided into six chapters, each of which deals with a major period of time. Each chapter is self-contained. Historical background and essential materials are presented and analysed. The writing of historical events is based on chronological order. Vietnam was a country without written language before the coming of the Chinese who, in their invasion of Vietnam in 111 B.C., brought with them their civilization, culture, educational system and language. The introduction of Chinese language to Vietnam can be taken as the overture of Vietnamese education. The first two chapters provide detailed information and historical factors as to how an early educational system of Vietnam was established under the influence of China and through its impact of education on the formation of a Confucian political system and Confucian society, which continued to exist for over 2,000 years. The political decline of China in the late 19th century provided the opportunity for the French to enter Vietnam and finally replace the Chinese sovereignty over the country in 1885. The invasion and ruling of the French (1886-1954) brought forward significant changes in Vietnam politically, socially and educationally.The French introduced a new, modem educational system to Vietnam and set up an elite colonial educational system which had a great impact on Vietnamese society as well as its education. Traditional Chinese education and its imperial examination system commenced to fade out in Vietnam from the early 20th century and came to an end in 1917. During this colonial period, Western ways of thinking and culture began to flow into Vietnam and continued thenceforth. With the division of the country into North and South as separate regimes under the Geneva Accords in 1954, the educational systems of each regime developed under different political systems and different ideologies from 1955-1975. In the North, the educational system was totally reformed according to Communist doctrine while in the South, education continued to develop in the Western ways. The world-known Vietnam War ended in April 1975. However, the unification of the North and South failed to be effected in many aspects due to varied ideologies and political systems. During the period of 1975-85 Vietnam underwent a transitional reform of education in the South, which continued up to the practice of the nation's `open-door policy' starting from 1987. Narration of a significant profile of attributes of Vietnam's system of education today is fully sketched. The concluding chapter comprises two major parts; the summing up and a general review on Vietnam's educational system and practices, together with some of the issues evident in the system at present.
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Books on the topic "Cinematographers"

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Vide, Carlos Rogel. Cinematographers' copyright. Madrid: Reus, 2009.

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Oosterhout, Richard van, and Maarten van Rossem. Shooting time: Cinematographers on cinematography. Rotterdam: Post Editions, 2012.

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Samuelson, David W. Hands-on manual for cinematographers. Oxford: Focal Press, 1994.

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Samuelson, David W. Hands-on manual for cinematographers. Oxford: Focal Press, 1994.

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Sinclair, Iain. Downriver, or, The vessels of wrath: A narrative in twelve tales. New York: Random House, 1993.

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J, Petrie Duncan. The British cinematographer. London: British Film Institute Publishing, 1996.

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Zhang, Baoqing. Dizhong Hai xiao feng can yue: Yi ge hua yi dian ying ren de fu sheng zha ji. Beijing Shi: Xin xing chu ban she, 2008.

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Almendros, Nestor. Días de una cámara. 3rd ed. Barcelona: Seix Barral, 1990.

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Rittaud-Hutinet, Jacques. Antoine, Auguste et Louis Lumière. Lyon: Editions lyonnaires d'art et d'histoire, 1994.

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Gorle, Dattā. Kêmerā bolatoya. Puṇe: Indrāyaṇī Sāhitya, 1997.

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Book chapters on the topic "Cinematographers"

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Heinke, Ralf Heiner. "Between Caméra Stylo and the Making of Images: Hitchcock’s Cinematographers." In Reassessing the Hitchcock Touch, 41–58. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60008-6_3.

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Hagener, Malte, and Michael Töteberg. "National Cinematographies." In Film — An International Bibliography, 100–194. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-03686-5_3.

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Marzola, Luci. "Between the Lines." In Engineering Hollywood, 73–102. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0004.

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The film technicians who used and managed the technology within the Hollywood studios themselves, such as cameramen and electricians, take center stage in this chapter, focusing on how the technical work of motion picture production was understood, managed, and promoted within the new “factory” system of Hollywood. The primary case study here is the cameramen, who used their organization, the American Society of Cinematographers, and its publication, American Cinematographer, to establish their status as the chief technicians in motion picture production in the silent period, often by resisting unionization and by touting their special knowledge of the tools of the trade. The cinematographers positioned themselves as “engineers” within the studio, a position that the incursion of trained sound engineers into Hollywood challenged.
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"Andrew Dunn." In ReFocus: The Later Films and Legacy of Robert Altman, edited by Lisa Dombrowski and Justin Wyatt, 243–51. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474478854.003.0020.

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Andrew Dunn trained at the BBC as an editor before becoming a camera operator and cinematographer. A member of the British Society of Cinematographers, he has shot more than fifty features and twenty-five television dramas and has won three BAFTA awards. He was the director of photography on Gosford Park (2001) and The Company (2003). In this interview, he discusses his working relationship with Robert Altman and how they prepared and shot Gosford Park and The Company.
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"Cinematographers / Directeurs de la photographic." In Canadian Film and Video. Toronto: University of Toronto Press, 1997. http://dx.doi.org/10.3138/9781442672185-016.

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Bergstrom, Janet. "Murnau’s Sunrise: In-Camera Effects and Effects Specialists." In Special Effects on the Screen. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789462980730_ch12.

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During the late 1920s, cinematographers in the US insisted that they should supervise outside specialists. An unforgettable “special effects” shot in Sunrise was photographed according to the needs of outside specialist Frank Williams’s patented process and his own lab. Understanding the Williams shot encourages us to see other unusual technical processes throughout Sunrise as they served Murnau’s drama rather than innovation for its own sake. Studying the achievement and function of specific shots in Sunrise leads to the larger debate about creative technical-aesthetic control that is similar to modern-day arguments about who should determine the final look of a film: digital postproduction specialists or the cinematographer, production designer, and director working together.
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Frost, Jacqueline B. "Polly Morgan, ASC, BSC." In Conversations with Contemporary Cinematographers, 196–213. Routledge, 2021. http://dx.doi.org/10.4324/9780429344985-13.

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Frost, Jacqueline B. "Robert Elswit, ASC." In Conversations with Contemporary Cinematographers, 36–51. Routledge, 2021. http://dx.doi.org/10.4324/9780429344985-4.

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Frost, Jacqueline B. "Mandy Walker, ASC, ACS." In Conversations with Contemporary Cinematographers, 390–404. Routledge, 2021. http://dx.doi.org/10.4324/9780429344985-24.

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Frost, Jacqueline B. "Kirsten Johnson, ASC." In Conversations with Contemporary Cinematographers, 52–69. Routledge, 2021. http://dx.doi.org/10.4324/9780429344985-5.

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Conference papers on the topic "Cinematographers"

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Caraballo, Luis-Evaristo, Angel Montes-Romero, Jose-Miguel Diaz-Banez, Jesus Capitan, Arturo Torres-Gonzalez, and Anibal Ollero. "Autonomous Planning for Multiple Aerial Cinematographers." In 2020 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2020. http://dx.doi.org/10.1109/iros45743.2020.9341622.

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Melita, Salvador. "Applications of the three color zone system: a cinematographers tool to understand color." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464561.

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Ten, Yuliya. "THE PECULIARITY OF THE COMPOSITION AND ARTISTIC SPEECH OF PROSE OF YANG WON SIK." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.44.

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The prosaic works of Yang Won Sik (1932–2006), a representative of Korean literature in Kazakhstan, are considered for the first time. After the Korean War, the DPRK leadership sent talented youth to Moscow to get an education. The New Republic needed qualified specialists to build a new state. Yang Won Sik graduates from VGIK in 1958 and stays in the USSR. He devoted many years to the life of the Kazakhfilm Studio and the republican newspaper Kore Ilbo. Yang Won Sik was a member of the Union of Writers of the USSR (1990) and Kazakhstan, a member of the Union of Cinematographers of the USSR, a member of the international PEN Club. The prose by Yang Won Sik written in a dialect of the province of Hamken conveys the historical “time — space” through the system of images and, in particular, verbal images. The author introduces the reader to the panorama of events of the beginning of the last century to the present. In his works of the 1950s and 1980s, Yang Won Sik uses Koryo mar in artistic speech. In the stories describing the events of the early twentieth century, the language of the Far Eastern Koreans is different. Each historical period creates its own words that disappear with the era.
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4

He, Li-wei, Michael F. Cohen, and David H. Salesin. "The virtual cinematographer." In the 23rd annual conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/237170.237259.

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5

Woollard, Christopher C. "A Verification System for Cinematographer Image Generation Tools." In SMPTE Technical Conference. IEEE, 1998. http://dx.doi.org/10.5594/m00264.

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6

Jeon, Boseong Felipe, Dongsuk Shim, and H. Jin Kim. "Detection-Aware Trajectory Generation for a Drone Cinematographer." In 2020 IEEE/RSJ International Conference on Intelligent Robots and Systems (IROS). IEEE, 2020. http://dx.doi.org/10.1109/iros45743.2020.9341368.

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Jia, Hao, Ruck Thawonmas, and Pujana Paliyawan. "An Aerial Cinematographer AI for Settlements in Minecraft–Toward Their Crowd Assessment." In 2021 IEEE 10th Global Conference on Consumer Electronics (GCCE). IEEE, 2021. http://dx.doi.org/10.1109/gcce53005.2021.9621905.

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