Relevant bibliographies by topics / Cinematographers Interviews

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Academic literature on the topic 'Cinematographers Interviews'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Cinematographers Interviews"

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Karolina, Cut Meutia, Eni Maryani, and Dian Wardiana Sjuchro. "Developing an alternative media for visually impaired audiences: ‘Bioskop Harewos’ Bandung." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 1 (February 16, 2021): 134. http://dx.doi.org/10.25139/jsk.v5i1.2451.

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Bioskop Harewos is a cinema in the Bandung, West Java, intended for visually impaired audiences. This research focused on efforts to uncover the existence of Bioskop Harewos for the visually impaired and the model of watching films of visually impaired audiences in Bioskop Harewos. The research method was a qualitative case study using several theories and concepts for alternative media. This research collected various data from cinematographers, cinema managers, and Bioskop Harewos team and audiences through interviews. The results showed that Bioskop Harewos is an alternative media for visually impaired audiences in Bandung to watch films in cinemas. Even with the ‘Harewos’ system, the Bioskop Harewos had fulfilled the visually impaired audiences’ demands to watch films in the cinema. The technical limitations of Bioskop Harewos did not reduce the value of entertainment for visually impaired audiences.
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Portuges, Catherine. "Hollywood on the Danube: Hungarian Filmmakers in a Transnational Context." Hungarian Cultural Studies 5 (January 1, 2012): 341–47. http://dx.doi.org/10.5195/ahea.2012.83.

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Exile, emigration and displacement have marked the trajectories of Hungarian filmmakers over the past century. Michael Curtiz, the Korda brothers—Alexander, Vincent and Zoltán—André de Toth, Emeric Pressburger, Vilmos Zsigmond, Miklós Rózsa, Peter Lorre, Géza von Radvány and other talented artists have crossed borders, cultures and languages, creating such classics as Casablanca, Somewhere in Europe, The Red Shoes and The Lost One. The legendary sign posted in Hollywood studios read: "It is not enough to be Hungarian, you have to have talent, too!" Accompanied by film extracts, rare footage, personal interviews, archive photographs, and documentary materials, my presentation explores the transnational odysseys of these Hungarian directors, producers, cinematographers, composers, actors and screenwriters whose artistic contributions became an indispensable part of international cinema, suggesting that the challenges of emigration may also offer opportunities for critique, self-examination and artistic creativity.
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Paulos Aemero. "Current Fragmented Film Festival and its Impact on the Process of Building Film Industry in Ethiopia." Integrated Journal for Research in Arts and Humanities 2, no. 4 (July 19, 2022): 86–92. http://dx.doi.org/10.55544/ijrah.2.4.59.

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This study aimed at examining the current film festivals and filmmaking impact on the process of film company building process in Ethiopia. Thus, in this study qualitative research method was employed. Both primary and secondary sources of data were gathered where the primary data was collected through key informant interviews having 19 film maker participants of the film industry, Directors cinematographers including academicians in Ethiopian Universities in the field of film and Theatre Arts. The secondary date was obtained through books, articles and journals. The data was analyzed by using document and thematic analysis techniques. The study found out that limited or independent film festival preparation, frequent coping from western and European film festival ideas, ineffective film production systems, loose producers company unity, lack of government support on the national film festival, an increase in film festival conspiracy, the financial, human and material constraints, acceptability gaps, the issue of departure film making action and disintegration weakened the unity and strength of the Ethiopian film festival as a whole thereby pretention obstacle in the film company building process in Ethiopia. Finally, this study recommended that strong Film company institutions are mandatory to gather crumbled Ethiopian film festivals and strength which will in turn amalgamate film corporation & film company formation process in Ethiopia.
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Orgeron, Marsha. "Filming The Marines In The Pacific: An Interview With World War II Cinematographer Norman Hatch." Historical Journal of Film, Radio and Television 28, no. 2 (June 2008): 153–73. http://dx.doi.org/10.1080/01439680802077196.

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5

Ellis, David A. "The Eyes of Cronenberg, Russell and “The Time Warp”: An interview with cult cinematographer Peter Suschitzky." Film International 13, no. 3 (September 1, 2015): 135–39. http://dx.doi.org/10.1386/fiin.13.3.135_7.

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Ardiyono, Yoppy. "Perkembangan Motif Sineas Film Indie dalam Menghadapi Industri Film Mainstream." Jurnal The Messenger 7, no. 1 (March 24, 2016): 9. http://dx.doi.org/10.26623/themessenger.v7i1.284.

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<em>The research aims to review to review determine the effect and its impact raised by motive - a motive the ada in the hearts period travel time history of film short against cinematographer-filmmaker as principal especially filmmakers left path (indie). The used platform theory research hearts singer adopts from theory commodification media vincent mosco. Singer helped shift theory understanding the motive filmmakers working hearts differences fundamental basis of political pressure economic happens under with demands regime. The method used is descriptive qualitative research methods. Data collection techniques through observation of the environment of an independent film live and in-depth interviews with speakers including mr. Yang prayer orangutan direct contact 'with realm of research. Coupled with study to review the literature references adding insight research. And that was concluded change appears motif among indie film cinematographer it is true the situation is closely linked to the mainstream industry, konstilasi politics, and the orientation of capitalism. Necessary their one thing is clear and systematic regulation from the government to the future movement of currents sidestream (indie) more with good operates professionally arranged, the air so that the contribution of indie cinema film land for progress can feels good to yourself indie filmmakers as well as those of its main industries.</em>
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Schreiber, András, and Lajos Koltai. "András Schreiber’s Interview Lajos Koltai : Seeing the Person, and an Angel Flies Past." Uránia 1, no. 1 (2021): 78–103. http://dx.doi.org/10.56044/ua.2021.1.5.eng.

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At 75, Lajos Koltai is considered one of the world’s best cinematographers. He has photographed nearly 90 moving pictures. He operated the camera for works significant to both Hungarian and international film history – such as Adoption, Confidence, the Oscar-winning Mephisto, Mrs Déry Where Are You?, and Time Stands Still. His direction of photography has been recognized at numerous international festivals. For example, in 1999, he won the distinguished European Film Award for best European cinematography on account of the films Sunshine, shot with István Szabó, and The Legend of 1900, jointly created with Giuseppe Tornatore. Then, in 2001, he was nominated for an Oscar for Malena, also directed by Tornatore; yet, for both Tornatore films, he won the most prestigious Italian prize, the Italian Film Academy’s David di Donatello Award. Having received both the Béla Balázs Prize and the Kossuth Prize in addition to the title Artist of the Nation, Lajos Koltai made his directorial debut in 2005 with his adaptation of Imre Kertész’ novel Fateless. Two years later, he adapted Susan Minot’s Evening for the silver screen with great success. Starting in September 2021, he has taught the master program in film direction at the renewed University of Theatre and Film Arts. Moreover, he will soon begin shooting his new film about Ignaz Semmelweis’ years in Vienna.
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Radunović, Dušan. "Time Never Regained: Film, Memory and History in Mila Turajlić’s Labudović Reels." Comparative Southeast European Studies 72, no. 2 (May 3, 2024): 256–69. http://dx.doi.org/10.1515/soeu-2024-0008.

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Abstract The article reviews the documentary film diptych The Labudović Reels by film-maker Mila Turajlić. Based on her archival work at the Filmske Novosti production company, Turajlić discovers the legacy of hitherto unknown cinematographer Stevan Labudović. Both films are hybrid documentaries that combine archive footage with interview-style documentary, and both focus on two intertwined thematic cycles – Labudović’s coverage of the Algerian war of independence (1959–1961) and the first summit of the Non-Aligned Movement (1960–1961). Conceptually, Turajlić’s films engage thought-provoking matrixes, among them Pierre Nora’s lieux de memoire and, more especially, Walter Benjamin’s reflections on historical progress. This review finds that the implementation of the latter blurs the boundary between the critique of the idea of progress and historical relativism, which leads to the confusing presence of mutually exclusive voices in Turajlić’s film, one calling for the reappropriation of the past, and another calling that same past into question.
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Rautkorpi, Tiina. "Television professionals’ reflections on their practices while cooperating with amateur participants: A case study of three topical Finnish multiplatform shows." Journal of Popular Television 8, no. 2 (June 1, 2020): 195–215. http://dx.doi.org/10.1386/jptv_00018_1.

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This article investigates the professional identities of key members of the television production teams that cooperate with volunteer citizens. The data is derived from production ethnographies conducted during three Finnish reality and documentary productions over the 2015‐18 period, which included reflective interviews with scriptwriter-directors, operating producers and a key cinematographer. In the productions utilizing volunteers as storytellers, the professionals focused on building multivocal television narration, which offered amateur presenters valuable opportunities to address the audience. In doing so, the professionals drew on their craft skills and gladly resorted to broad job descriptions and reciprocal teamwork. At the same time, they took the lead in planning the programme entirely and used production tools to control their communication with amateurs. However, in their reflections, the professionals also expressed uncertainty about many obstacles and tensions in selecting and encountering ordinary people. According to the activity theory, the television production staff’s professional development has to be built on the relevant strata of their current skills. The professionals’ identified interest in building multivocal content forms the basis for rejuvenating the entire production process towards co-creation, to take optimal advantage of the way regular citizens make sense.
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Olivieri, Alexander Petit. "Kinesthetic Exchanges between Cinematographers and Dancers: A Series of Screendance Interviews." International Journal of Screendance 13 (August 25, 2022). http://dx.doi.org/10.18061/ijsd.v13i1.8768.

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This paper examines the kinesthetic exchanges between camera operators and dancers, and proposes that their creative methodologies and interpersonal relationships can enhance the making of a screendance. I discuss how I discovered this project, unpack the phrase “kinesthetic exchange,” and identify the cinematographer as the co-creator of a film’s kinesthesia. I also discussscreendances that prioritize mobile camera operation, and I speculate that shared kinesthesia between camera and dancer has the potential to kinesthetically and emotionally affect audiences. Included are six interviews of contemporary dance makers and filmmakers that speak to the kinesthetic connection between the dancer and camera operator, and how that relationship enlivens the two-dimensionality of the frame. It is my intention to offer varying perspectives about kinesthetic exchanges between camera operators and dancers, and how their relationships may influence the creative processes for the creation of screendances.
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Books on the topic "Cinematographers Interviews"

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Principal photography: Interviews with feature film cinematographers. Westport, Conn: Praeger, 1999.

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Simon, Pettet, ed. Conversations with Rudy Burckhardt about everything. New York, NY: Vehicle Editions, 1987.

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Ballhaus, Michael. Das fliegende Auge: Michael Ballhaus, Director of Photography, im Gespräch mit Tom Tykwer. Berlin: Berlin Verlag, 2002.

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4

Figueroa, Gabriel. Conversaciones con Gabriel Figueroa. Guadalajara, Jalisco, México: Universidad de Guadalajara, Centro de Investigación y Enseñanza Cinematográficas, 1993.

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Larry, Salvato, Takama Kenji 1949-, and Miyamoto Takaharu 1952-, eds. Masutāzu obu raito: Amerikan shinema no satsuei kantokutachi. Tōkyō: Firumu Ātosha, 1988.

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Festival de Cine de Alcalá de Henares (24th), ed. El lenguaje de la luz: Entrevistas con directores de fotografía del cine español. Alcalá de Henares [Madrid]: Festival de Cine de Alcalá de Henares, 1994.

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Eiga satsuei to wa nanika: Kyameraman 40-nin no shōgen. Tōkyō: Heibonsha, 1997.

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1974-, Kregel Marko, ed. Die Kamera als Auge des Zuschauers. Marburg: Schüren, 2005.

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Rogers, Pauline B. The art of visual effects: Interviews. Boston: Focal Press, 1999.

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1975-, Giesemann Bernd, Kirchner Andreas, Neubauer Michael, and Prümm Karl, eds. Nähe und Empathie: Die Bilderwelten der Kamerafrau Judith Kaufmann. Marburg: Schüren, 2013.

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Book chapters on the topic "Cinematographers Interviews"

1

"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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MacDonald, Scott. "Fred Wiseman at the Brattle Theater with Hospital, July 19, 2010." In The Sublimity of Document, 113–24. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052126.003.0005.

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This interview is an edited version of a public discussion with filmmaker Fred Wiseman at the Brattle Theater in Cambridge, Massachusetts, about his film, Hospital (1970). Wiseman discusses his filmmaking approach and his belief that shooting film footage is research, while the actual filmmaking is done in the editing. During the shooting of each of his features, Wiseman takes sound and directs his cinematographers. In his editing, he is more interested in presenting an experience of the places he films than in developing particular socio-political arguments. Wiseman has been remarkably prolific, making at least one feature film a year since Titicut Follies (1967). He is understood as the epitome of “fly-on-the-wall” observational cinema-verite documentary and has used his approach to explore a considerable panorama of American institutions—“institutions” in the broadest sense. Hospital remains among the most engaging of his films.
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MacDonald, Scott. "Nikolaus Geyrhalter." In The Sublimity of Document, 125–54. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190052126.003.0006.

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This is the first career interview with Austrian documentary filmmaker Nikolaus Geyrhalter, whose films, like those of Fred Wiseman, often focus on cultural institutions, though with a radically different sensibility. Geyrhalter’s most widely known film in the United States is Our Daily Bread (2005), his astonishing documentation of mass food production within the European community. Geyrhalter’s films are visually rigorous and formal—he was a photographer before he turned to filmmaking and is his own cinematographer. His films have explored cultural realities far and wide, from the aftermath of the Balkan wars of the 1990s to the plight of workers laid off from an Austrian factory during the years after the factory closed. His most elaborate film is Elsewhere (2000), a global survey of the edges of modern life and cultural transformation at the moment of the new millennium. The recent Homo Sapiens is a panorama of ruined places and landscapes across the planet at the dawn of the Anthropocene.
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Forshaw, Barry. "Jonathan Demme’s the Silence of the Lambs." In The Silence of the Lambs, 27–60. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0004.

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This chapter focuses on Jonathan Demme's The Silence of the Lambs (1991). The synthesis of elements that create the look and identity of a film come from a variety of talents: from the director's original conception, to the cinematographer's realisation of the same; to the production designer. In the case of The Silence of the Lambs, these three elements are in perfect harmony, producing a visual signature for the film which is highly distinctive and very specific to Demme's vision. The chapter then details the first meeting and the subsequent interviews between Hannibal Lecter and Clarice Starling. The initial meeting between Clarice and the murderous psychiatrist Lecter is one of the great set pieces of modern cinema. While clearly adhering to the imperatives of popular cinema, the sequence is shot and acted with a rigour worthy of the ‘chamber cinema’ of the Swedish master Ingmar Bergman in his late 1960s films — and this is not the only occasion in which the more rarefied agendas of art cinema are evoked by Demme and his collaborators. Another popular sequence is a perfect concatenation of all three elements of acting, writing, and direction, in which Lecter makes his devastating (and cruel) character analysis of Clarice. The chapter also explores the horror film credentials and accoutrements of the film.
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