Relevant bibliographies by topics / Cinematography

Contents

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

Academic literature on the topic 'Cinematography'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 September 2024

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Journal articles on the topic "Cinematography"

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Tedjorahardjo, Christa Azalia. "Picturing the Boundary Between Good and Bad: The Lighting, Framing, and Camera Movement of “Kidnap”." K@ta Kita 5, no. 2 (November 16, 2018): 9–17. http://dx.doi.org/10.9744/katakita.5.2.9-17.

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This creative work is a cinematography report from the screenplay “Kidnap” by Indah Sari Y. The story tells about a criminal who is given a mission to kidnap the daughter of a deceased wealthy CEO, however the Man realized that he mistakenly kidnapped the wrong person. He is caught in the dilemma whether or not to let her go, yet his situation only gets worse when he is given the order to kill her. The cinematography of this film aims to convey the story and message that the director envisioned. Moreover, it aims to portray characterization through various elements of cinematography such as framing, lighting, and camera movement. It also intents to manipulate tone and mood through those cinematographic elements. To further understand the cinematography of this film, three main theories are used: low-key lighting, head-room and lead-room, and handheld camera movement. These theories are to help the cinematographer to convey the genre of psychological suspense, with the subgenre of crime drama. An in-depth analysis in this report will talk in details about how cinematography achieved the desired effects towards characterization, mood, and tone.
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Baiturina, Diana Uralovna. "Bashkir cinematography as a phenomenon of national Culture." Философия и культура, no. 1 (January 2022): 11–25. http://dx.doi.org/10.7256/2454-0757.2022.1.37269.

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This article examines the milestones in the development of cinematography as a phenomenon in Bashkortostan. The author traces the path from the emergence of very first films to the present state of local film production in the republic. Research methodology leans on the methods of systematization and analysis of scientific literature, written and cinematographic sources, historical-typological (analysis of the historical and cultural grounds of Bashkir cinematography), interpretation of written and cinematographic material. The peculiarities of the establishment and development of Bashkir cinematography are revealed. The theoretical importance of this article lies in systematization of knowledge and description of the ethnocultural characteristics of the development of cinematography in the context of Bashkir cultural field. Cultural tradition as an example that is being reflexively used by people within the framework of a particular culture for solution of life tasks underlies the national cinematography. The models of lifestyle and perception of the world in a given cultural era are realized in the national cinematographic works and represent cultural paradigm of the nation. The author notes the ethnic peculiarities of the development of the phenomenon of cinematography in the region. Prevalence of the elements of traditional national culture (plotlines and images) in the films determines the peculiar nature of Bashkir cinematography and impacts the ethnocultural identity of the recipient. The scientific novelty lies in revealing the historiographical and culturological aspects of Bashkir cinematographic works, as well as outlining its role in modern art culture. The study was conducted on the basis of semiotic and interpretational methods of art history analysis.
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Taras, Katarzyna. "“I like it close” – Jolanta Dylewska’s art of cinematography." Panoptikum, no. 23 (August 24, 2020): 77–86. http://dx.doi.org/10.26881/pan.2020.23.06.

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The author presents the cinematographer and director Jolanta Dylewska, striving to define her cinematographic style. Although Dylewska began working independently as a cinematographer only after the turn of 1989, her position in the history of Polish and European cinema can be determined through awareness of her female pioneership in this profession, set against the background of generations of graduates of the Cinematography Department at the Lodz Film School. The researcher focuses on films that are the result of Dylewska’s collaboration with transnational directors, Agnieszka Holland (In the Darkness, Spoor) and Sergey Dvortsevoy (Tulpan, Ayka). The cinematographer denies that she has developed her own individual style, her goal is to find a style that will communicate the director’s vision. The researcher, however, finds characteristic features in her images, such as telling stories through landscapes and faces, including animals, and immersing the viewer in images – by using light and sharpness and bringing all the cinematographer’s technical expertise into play.
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Tokoeva, Gulabovo Toktosunovna. "Key aspects of interrelation between Kyrgyz cinematography and music." Культура и искусство, no. 1 (January 2020): 8–16. http://dx.doi.org/10.7256/2454-0625.2020.1.31956.

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In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.
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Silveira, Vanilson Pereira, and Maria Luiza Cardinale Baptista. "Tourism and Cinema: Cinematographic Production and Tourist Attractivity In Garibaldi-RS, Brazil." Revista Rosa dos Ventos - Turismo e Hospitalidade 12, no. 4 (October 22, 2020): 982–96. http://dx.doi.org/10.18226/21789061.v12i4p982.

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This paper aims to discuss the relationship between cinema and tourism, taking as its analysis the municipality of Garibaldi, located in Rio Grande do Sul, Brazil. Theoretically, it’s a transdisciplinary approach Tourism – Communication with a literature review to approach the theme and to identify locations contained in audiovisual productions. It’s possible to point movies as a resource to promote and disseminate tourist destinations. The cinematographic productions that take place in Garibaldi represent a differential strategy to reaffirm the region's vocation to tourism and cinematography. The Garibaldi Film Commission and the cinematography route ‘Garibaldi a cinematography city’ are strategic to capture productions and to diversify the local tourism. In addition, the places used as sceneries can be directed to promote historical and cultural attractions in the region.
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KALANOV, Asliddin. "CINEMATOGRAPHY AND ARTIST." Art and Design: Social Science 02, no. 01 (February 1, 2022): 1–3. http://dx.doi.org/10.37547/ssa-v2-i1-1.

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The article discusses the work of Khudoibergan Devonov (1879-1940), the founder of Uzbek cinema, the first Uzbek photographer and cinematographer. The report also discusses Varsham Yeremyan, a pre-production artist at the "Sharq Yulduz" studio, and later artists working at the "Uzbekfilm" studio. E. Kalontarov, who has been involved in the production of several films as a leading artist at the Uzbekfilm studio since 1959, later contributed to the development of Uzbek cinematography in collaboration with B. Nazarov, K. Nuriddinov and later directors.
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Jepri, Muhammad, Mahdalena Risnawaty, and Ahmad Riza. "PERENCANAAN PUSAT SINEMATOGRAFI DI TENGGARONG DENGAN PENDEKATAN ARSITEKTUR METAFORA." Jurnal Totem : Architecture, Environment, Region and Local Wisdom 4, no. 1 (August 14, 2023): 1. http://dx.doi.org/10.31293/ttm.v4i1.6451.

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Along with the development of the world of cinematography among young people in Tenggarong, where their activities include making films, short films, film screenings, and film competitions. However, there are no facilities or gathering places for them, so it is necessary to create a place or place that can provide facilities for the cinematographic community. The purpose of this research is to plan a Cinematography Center with a metaphorical architectural concept in the form of a building taken from the formation of a film camera, and to provide a forum for the activities of the cinematography community in Tenggarong including through production, training of various film works, exhibitions, various competitions and events. It is hoped that this plan will accommodate communities in Tenggarong who are interested in cinematography, both theoretically and practically, so that they can produce the best works that can compete nationally. By emphasizing the architectural style of concrete metaphors (tangible) in the planning of the building by taking the formation of a retro film camera that is transformed, it is hoped that it will be able to give the characteristics of a building that will be planned.
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Lotman, Elen. "Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters." Baltic Screen Media Review 4, no. 1 (December 1, 2016): 88–105. http://dx.doi.org/10.1515/bsmr-2017-0005.

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Abstract In the history of cinematography there is a noticeable tradition to deliberately highlight the elements that accentuate space and spatiality in the shots. At the same time, there is also a contrary tradition, i.e. the conscious reduction of spatiality with the help of artistic tools in order to evoke a feeling of alienation. In this article I will argue that it is highly likely that the visual reinforcement of depth has become one of a cinematographer’s most frequently used tools, because it plays an important role in the audience’s perceived empathy towards onscreen characters. Since the practices of art-making – e.g. cinematography – represent a way that the empirical experience accumulated in professional practices reflects underlying neural processes, this article will first draw upon evidence from the common tenets of cinematography and reflect on how these correspond to the respective phenomena in human perception and cognition. The second part of the article examines the theory of the para-dramatic and eso-dramatic factors established by Gal Raz and Talma Hendler as it applies to cinematography; thereby suggesting possibilities for broadening the theoretical foundations of the twofold division of the causes for the viewers’ empathetic responses. The article will also introduce the results from a pilot experiment. However, I will not argue that the rendering of cinematographic space and drawing attention to certain areas are superior tools for creating filmic empathy. I will rather point out that they are often used by cinematographers when they want to create an immersive experience, and therefore, there is reason to believe that a connection exists between emotional empathy and the usage of these cinematographic tools.
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Zhuravleva, O. V., and A. S. Lobacheva. "Main marketing trends in the Russian cinema market in the current realities." Vestnik Universiteta, no. 9 (October 31, 2022): 90–95. http://dx.doi.org/10.26425/1816-4277-2022-9-90-95.

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The article examines current marketing trends in Russian cinema and film industry, which have emerged in the 21st century in Russian cinema and international federation of film societies. The aim of the study is to define the directions of marketing strategies for enlarging the target audience and extracting the maximum possible profit from cinematographic business. Based on key works on marketing and their own observations, the authors investigated the concept and essence of marketing, its content and specifics. Various ways of increasing the audience of cinemas and customer loyalty programmes were analysed. The main societal trends, which influence the creation of cinematographic images in contemporary cinematography, were identified, and the factors of modern society development and their correlation with the world of cinematography, including the degree of their influence, were pointed out. The results of the study can serve as a basis for evaluating the effectiveness of marketing strategies.
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Mukhortikova, Elena A. "Aesthetics of Cinematography in Visualization of Music Videos." Observatory of Culture 21, no. 3 (June 20, 2024): 258–65. http://dx.doi.org/10.25281/2072-3156-2024-21-3-258-265.

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The relevance of the topic is to analyze the formation of the musical content of clips created with the involvement of the plots of cinematographic works in their text, and the impact of the clip on the perception of the viewer; to study the development of visual means attracted to the textual factors of the clip. The purpose of the present research is to study the influence of the plot intent of the scenic features of a cinematographic work on the visual and musical series of the clip, related to the associative perception of the viewer. Novelty — for the first time the influence of aesthetic-plastic and ascetic ideas of cinematography on the formation of mediaverbal texts of music videos has been investigated. Objective — to investigate the possibilities and effectiveness of the use of cinematographic techniques in music videos and their impact on the viewer’s perception of the musical work. The research methodology is based on descriptive, inductive and iconological methods. The possibilities of using plastic means of cinematography in the construction of imagery, music videos and their comprehension by the viewer are studied. The possibility of determining the genre characteristic of a music video shot on the basis of the storyline of a cinematographic work is considered. The high degree of non-verbal nature of music video lyrics, which incorporate the storylines of cinematic works, allows the viewer to experience the charm of artistic possibilities complemented by the world of classic cinematic works. This is the unique potential of music videos, in the context of which the aesthetic constants of cinematographic works are used, the possibilities of visualization of which are not limited.
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Dissertations / Theses on the topic "Cinematography"

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Dicker, Barnaby Thomas. "Cinematographic atavism, graphic proteanism : visibly frame-based cinematography : practice, history, theory." Thesis, Royal Holloway, University of London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529766.

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Dimoski, Vladimir. "Expanded Cinematography." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364700.

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Nahlížíme-li na profesi kameramana jakožto na určitou formu umění, pak toto umění dnes stojí na rozcestí. Kolem pojmu kameramanství je dnes určitá kontroverze, zejména v kontextu filmů, u kterých byla klasická kamera podřízena virtuálním technikám (např. Matrix, Life of Pi, Gravitace). Následující práce se zaobírá historickým vývojem kameramanských technik a jejím cílem je ověřit, zda je virtuální kinematografie krokem kupředu v evoluci práce kameramana. Ve snaze dobrat se co nejpravdivější odpovědi, rozhodl jsem se analyzovat práci kameramanů výše zmíněných celovečerních snímků ve smyslu spolupráce se supervizory vizuálních efektů a celým kreativním týmem. V této studii se snažím objasnit, jak tito kameramani použili nové techniky za účelem podpoření dramaturgie příběhu.
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Maddock, Daniel. "REFRAMING CINEMATOGRAPHY: Interpreting Cinematography in an Emerging Virtual Practice." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380997.

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Many of the current discussions around the practice of cinematography focus on the extension or disruption of the art form as it is increasingly practiced in the realm of the virtual. Since Avatar (Cameron 2009) won the Oscar for Best Cinematography at the Academy of Motion Picture Arts and Sciences Awards, a significant number of the nominated and winning live-action feature films in this category have been characterised by a heavy component of virtual images rather than images produced by a camera. Although cinema has a history that spans over a century, computer-generated imagery (CGI) has only been present in this form since the early 1990s. Moreover, CGI has only become substantial in many critics’ views as a disruption to the practice and singular authorship of cinematography since the release of Avatar (Cameron 2009), with films such as Life of Pi (Lee 2012) and Gravity (Cuarón 2013) seen as exemplifying this trend. The objective of this research is to investigate the current definition of cinematography and to interpret the practice of the contemporary art form. This process of investigation is driven by a self-reflexive analysis of my studio projects that have been challenged, shaped, and developed by the work and experience of other film practitioners—specifically, cinematographers and cinema theorists—whose ideas relate closely to the problem at hand. This written component of my doctoral research comprises a wide-ranging analysis of the history of cinematography, with a particular focus on the evolution of virtual image production. I achieve this by comparing and contrasting the work of early cinematographers with that of contemporary cinematographers. Following this, I make comparisons between current leading examples of virtual cinematography in the discipline. Traditional and ‘new’ virtual practices of cinematography are considered through the prism of concepts proposed by theorists such as Jean Baudrillard in the 1980s and Charles Peirce in the nineteenth century and specifically Stephen Prince’s own writings about Peirce’s ideas in the 1990s. Contemporary academic thinkers such as Scott McQuire, Stephen Prince, and Patrick Keating, among many others were also instrumental in constructing this thesis. I conclude the discussion with my application of the latest methodological virtual cinematographic processes to several of my projects where I fulfilled the role of cinematographer. Emerging from this research is a new and holistic understanding of the practice of cinematography and a contemporary definition of the art form. This research has shaped my own professional practice of cinematography by formulating a methodology of ‘cinematic verisimilitude’ which I apply to image-making for cinema with the camera and the computer.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
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Sanokho, Cunka. "Data-driven virtual cinematography." Thesis, Rennes 1, 2016. http://www.theses.fr/2016REN1S010/document.

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Le contrôle automatique de caméra est un composant essentiel en cinématographie virtuelle à la fois pour la sélection des points de vue appropriés dans une scène 3D ou pour passer en revue efficacement le contenu d'un environnement 3D. Les applications de cinématographie virtuelle reposent sur des critères réalisme afin de provoquer un impact positif chez le spectateur. Dans cette thèse, nous présentons deux contributions. Tout d'abord, nous proposons une métrique permettant d'évaluer et de corriger l'équilibre visuel dans les images basée sur un large éventail de caractéristiques visuelles, dont la taille, la silhouette, la position et la saillance d'objets cibles, associés à des métriques liées aux positions et orientations des objets. Le procédé consiste à annoter des images bien équilibrées, pour estimer automatiquement la façon dont chaque caractéristique influence l'équilibre visuel dans chaque image. Nous proposons de créer une base de données d'images annotées de façon à (i) évaluer l'équilibre dans une nouvelle image en comparant ses caractéristiques visuelles à celles de la base de donnée, et (ii) d'optimiser automatiquement les points de vue dans une scène 3D de façon à recréer un équilibre visuel. Deuxièmement, nous présentons les Camera Motion Graph, une technique pour générer facilement et efficacement des séquences cinématographiques en temps réel dans des environnements 3D dynamiques. Un Camera Motion Graph est composé de (i) morceaux de trajectoires de caméra réelles exprimées dans le repère local d'une ou plusieurs cibles, (ii) de transitions continues entre les trajectoires des caméras et (iii) de transitions représentant des sauts directs d'une trajectoire à une autre. Les échantillons de trajectoires sont construits en extrayant des mouvements de caméra à partir de véritables films en utilisant des techniques de vision par ordinateur, ou par capture de mouvement en utilisant un système de caméra virtuelle. Une transformation est proposée afin d'exprimer les trajectoires des caméras dans une représentation normalisée. Le Camera Motion Graph est alors construit par échantillonnage de toutes les paires de trajectoires de caméras et le calcul des possibilités de transitions continues ou directes. Les résultats que nous présentons illustrent la simplicité de la technique, son adaptabilité à différents environnements 3D ainsi que son efficacité
Automated camera control techniques are key components of virtual cinematography systems by providing means to select appropriate viewpoints in a 3D scene and to efficiently review the content of a 3D environment. In this work we present two contributions. First, we propose an example-driven on-screen balance metric which estimates how well balanced is the composition of a shot. Our metric accounts for a large set of visual features including size, silhouette, position and saliency of target objects, together with metrics related to character’s positions, orientations and gaze. The process consists in annotating well balanced images, to estimate automatically how each visual feature influences balance in each image. We then rely on this database of annotated images to (i) estimate how well new images are balanced by comparing their visual features, and (ii) automatically optimize viewpoints in a 3D scene to enforce balance. Second, we present Camera Motion Graphs, a technique to easily and efficiently generate cinematographic sequences in real-time dynamic 3D environments. A camera motion graph consists of (i) pieces of original camera trajectories attached to one or multiple targets, (ii) generated continuous transitions between camera trajectories and (iii) transitions representing cuts between camera trajectories. Pieces of original camera trajectories are built by extracting camera motions from real movies using vision-based techniques, or relying on motion capture techniques using a virtual camera system. A transformation is proposed to recompute all the camera trajectories in a normalized representation, making camera paths easily adaptable to new 3D environments through a specific retargeting technique. The camera motion graph is then constructed by sampling all pairs of camera trajectories and evaluating the possibility and quality of continuous or cut transitions. Results illustrate the simplicity of the technique, its adaptability to different 3D environments and its efficiency
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Tomlinson, William Michael 1972. "Interactivity and emotion through cinematography." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/88315.

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Koval, Ju. "Dystopia as a cinematography direction." Thesis, Сумський державний університет, 2013. http://essuir.sumdu.edu.ua/handle/123456789/31122.

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Dystopia is a direction of the artistic literature and the cinematography direction, in narrow sense, it is a description of the totalitarian state, in wide sense, it is a description of any society, in which there are prevailed negative progress trends. Dystopia is a complete opposition of utopia. Utopia is a genre of the artistic literature, which is close to science fiction and describing a model of an ideal society from the author’s point. Unlike dystopia, it is characterize by the author’s faith in the blamelessness of a model. When you are citing the document, use the following link http://essuir.sumdu.edu.ua/handle/123456789/31122
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Sun, Geng. "Perceived depth control in stereoscopic cinematography." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/3458/.

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Despite the recent explosion of interest in the stereoscopic 3D (S3D) technology, the ultimate prevailing of the S3D medium is still significantly hindered by adverse effects regarding the S3D viewing discomfort. This thesis attempts to improve the S3D viewing experience by investigating perceived depth control methods in stereoscopic cinematography on desktop 3D displays. The main contributions of this work are: (1) A new method was developed to carry out human factors studies on identifying the practical limits of the 3D Comfort Zone on a given 3D display. Our results suggest that it is necessary for cinematographers to identify the specific limits of 3D Comfort Zone on the target 3D display as different 3D systems have different ranges for the 3D Comfort Zone. (2) A new dynamic depth mapping approach was proposed to improve the depth perception in stereoscopic cinematography. The results of a human-based experiment confirmed its advantages in controlling the perceived depth in viewing 3D motion pictures over the existing depth mapping methods. (3) The practicability of employing the Depth of Field (DoF) blur technique in S3D was also investigated. Our results indicate that applying the DoF blur simulation on stereoscopic content may not improve the S3D viewing experience without the real time information about what the viewer is looking at. Finally, a basic guideline for stereoscopic cinematography was introduced to summarise the new findings of this thesis alongside several well-known key factors in 3D cinematography. It is our assumption that this guideline will be of particular interest not only to 3D filmmaking but also to 3D gaming, sports broadcasting, and TV production.
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Louarn, Amaury. "A topological approach to virtual cinematography." Thesis, Rennes 1, 2020. http://www.theses.fr/2020REN1S063.

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La recherche dans le domaine de la cinématographie virtuelle s'est essentiellement focalisée sur des aspects précis de la cinématographie mais n'ont pas adressé les nombreuses interdépendances entre les entités d'une scène. En effet, alors que la majorité des approches prennent en compte le fait que les caméras et lumières sont contraintes par les acteurs, elles oublient que les acteurs sont aussi contraints par les caméras et des lumières. Dans cette thèse, nous adressons ces interdépendances en modélisant les relations partagées par les entités et la topologie de l'environnement. Pour ce faire, nous proposons un langage permettant de décrire formellement une scène avec des contraintes de haut niveau qui représentent les relations des entités, auxquelles sont associés des opérateurs formels permettant d'appliquer ces contraintes géométriquement. Notre seconde contribution est un système de mise en scène cinématographique qui génère des configurations de mises en scène dans un environnement virtuel à partir d'une description écrite dans notre langage formel. Notre troisième contribution est un système de placement de caméras en temps réel générant des rails de caméras dans un environnement virtuel qui sont ensuite utilisés pour guider la caméra en temps réel
Research in the domain of virtual cinematography has mostly focused on specific aspects of cinematography but fail to take into account the interdependencies between all the entities in the scene. Indeed, while most approaches take into account the fact that the cameras and lights are constrained by the characters, most fail to acknowledge that the characters are also constrained by the cameras and lights. In this thesis we tackle these interdependencies by modeling the relations between the entities and the topology of the environment. To this end, we propose a language to be used to formally describe a scene thanks to high-level constraints that represent entity relations, to which are associated formal operators that can be used to enforce these constraints through geometry. Our second contribution is a cinematographic staging system that generates staging configurations in a virtual environment thanks to a description written in our formal language. Our third contribution is a real-time camera placement system that builds on a subset of our formal language and generates camera tracks in a virtual environment to be used to guide the camera in real-time
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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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Galvane, Quentin. "Automatic Cinematography and Editing in Virtual Environments." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAM033/document.

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La libre diffusion de modèles 3D de qualité ainsi que la mise à disposition de nombreux moyens facilitant la création de contenus animés ont permis de populariser la production d'oeuvres cinématographiques 3D.A l'heure actuelle, on peut cependant observer un manque important d'outils permettant de traiter la cinématographie (placement des caméras pour l'enregistrement des plans) et d'effectuer le montage de tels contenus (sélection des plans et transitions entre caméras). La création d'un film nécessite la connaissance d'un grand nombre de règles et de conventions.La plupart des systèmes d'animation ne disposant pas de ces connaissances, le besoin de méthodes automatiques qui pourraient, au moins partiellement, assister l'utilisateur dans son entreprise créative, se fait de plus en plus ressentir. A travers cette thèse, nous abordons à la fois la gestion automatique de la cinématographie ainsi que le montage des plans générés.L'utilisation de caméras pour retranscrire les actions et événements se déroulant au sein d'un environnement dynamique est une préoccupation importante de beaucoup d'applications graphiques. Dans le contexte de la simulation de foule, nous présentons une nouvelle approche qui aborde le contrôle simultané de plusieurs caméras filmant un groupe de cibles. Nous proposons un système se reposant sur le modèle de "comportements guidées" développé par Reynolds. Celui-ci permet de contrôler et coordonner localement un ensemble de caméras évoluant dans un environnement afin de filmer les différents événements s'y déroulant.Le montage d'un film est une tache particulièrement complexe et méticuleuse qui nécessite de profondes connaissances du domaine. L'automatisation de cette tache requiert donc la formalisation de cette expertise. En utilisant la méthode de montage linéaire - ou "continuity editing" ; il s'agit de la technique de montage la plus utilisée - comme référence pour l'évaluation du montage, nous présentons une nouvelle approche au montage automatique d'animations 3D se reposant sur une méthode d'optimisation. En s'appuyant sur une hypothèse semi-Markovienne, notre méthode utilise la programmation dynamique afin de calculer efficacement les solutions.A partir de notre première contribution, nous proposons ensuite une nouvelle approche à la création de "replay" cinématiques qui utilise à la fois les informations narratives et géométriques extraites du jeu pour automatiquement calculer la trajectoire de la caméra. En combinant ce système avec notre framework de montage, notre solution génère rapidement les replay de sessions de jeu.Enfin, en prenant inspiration de pratiques couramment utilisées dans l'industrie du cinéma, nous proposons une nouvelle approche à la planification de mouvements de caméra. Notre solution assure le réalisme des trajectoires en contraignant les caméras sur des rails virtuels. La position et l'orientation de la caméra sont optimisées dans le temps le long du rail pour satisfaire différentes propriétés visuelles. Les plans générés sont ensuite envoyés à notre framework de montage qui génère alors la séquence cinématographique
The wide availability of high-resolution 3D models and the facility to create new geometrical and animated content, using low-cost input devices, open to many the possibility of becoming digital 3D storytellers. To date there is however a clear lack of accessible tools to easily create the cinematography (positioning and moving the cameras to create shots) and perform the editing of such stories (selecting appropriate cuts between the shots created by the cameras). Creating a movie requires the knowledge of a significant amount of empirical rules and established conventions. Most 3D animation packages do not encompass this expertise, calling the need for automatic approaches that would, at least partially, support users in their creative process. In this thesis we address both challenges of automating cinematography and editing in virtual environments.Using cameras to convey events and actions in dynamic environments is a major concern in many CG applications.In the context of crowd simulation, we present a novel approach to address the challenge of controlling multiple cameras tracking groups of targets. In this first contribution we propose a system that relies on Reynolds' model of steering behaviors to control and locally coordinate a collection of autonomous camera agents evolving in the dynamic 3D environments to shot multi-scale events.Editing a movie is a complex and tedious endeavor that requires a lot of expertise in the field. Therefore, automating the process calls for a formalization of this knowledge. Using continuity editing -- the predominant style of editing -- as a benchmark for evaluating edits, we introduce a novel optimization-based approach for automatically creating well-edited movies from a 3D animation. We propose an efficient solution through dynamic programming, by relying on a plausible semi-Markov assumption.Building upon our first contribution we then propose a novel importance-driven approach to cinematic replay that exploits both the narrative and geometric information in games to automatically compute camera paths. Combined with our editing framework, our solution generates coherent cinematic replays of game sessions.Finally, drawing inspiration from standard practices in the movie industry, we introduce a novel approach to camera path planning. This solution ensures realistic trajectories by constraining camera motion on a virtual rail. The camera position and orientation are optimized in time along the rail to best satisfy visual properties. The computed shots constitute relevant inputs for the editing framework which then generates compelling cinematographic content
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Books on the topic "Cinematography"

1

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

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America, Boy Scouts of, ed. Cinematography. 2nd ed. Irving, Tex: Boy Scouts of America, 2001.

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Great Britain. India Office. Public and Judicial Department. Cinematography. [London, Eng.]: India Office Library, 1994.

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Leeuw, Ben De. Digital cinematography. Boston: AP Professional, 1997.

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Hoser, Tania. Introduction to Cinematography. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315305318.

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Shklovskiǐ, Viktor Borisovich. Literature and cinematography. Champaign: Dalkey Archive Press, 2008.

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service), ScienceDirect (Online, ed. High definition cinematography. 3rd ed. Amsterdam: Elsevier/Focal, 2009.

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Paul, Wheeler. High Definition Cinematography. San Diego: Elsevier Science & Technology, 2010.

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Groșan, Ioan. The cinematography caravan. Plymouth: University of Plymouth Press, 2009.

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Perisic, Zoran. Visual effects cinematography. Boston: Focal Press, 2000.

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Book chapters on the topic "Cinematography"

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kydd, Elspeth. "Cinematography." In The Critical Practice of Film, 105–42. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_6.

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Sawadogo, Boukary. "Cinematography." In African Film Studies, 53–58. 2nd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003246763-7.

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Boukary, Sawadogo. "Cinematography." In African Film Studies, 65–71. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-5.

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Dixon, Mark. "Cinematography." In Essential Revision for A Level Film Studies, 3–21. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-2.

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Danielian, Jeff, Uriah Donnelly, and William Schaff. "Cinematography." In The Reel Classroom, 45–61. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238881-6.

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Osborn, Brad. "Cinematography." In Interpreting Music Video, 83–99. New York: Routledge, 2021.: Routledge, 2021. http://dx.doi.org/10.4324/9781003037576-8.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Cinematography." In A Level Film Studies, 31–49. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-2.

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Brown, Blain. "Lighting." In Cinematography, 263–98. 4th ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429353239-13.

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Brown, Blain. "Image control." In Cinematography, 219–42. 4th ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429353239-11.

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Brown, Blain. "Camera movement." In Cinematography, 343–64. 4th ed. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429353239-16.

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Conference papers on the topic "Cinematography"

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Borowski, Paweł, and PISF and Polish Filmakers Assoc. "Polish cinematography." In ACM SIGGRAPH ASIA 2010 Computer Animation Festival. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900264.1900335.

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Balakrishnan, Girish, and Paul Diefenbach. "Virtual cinematography." In ACM SIGGRAPH 2013 Studio Talks. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2503673.2503686.

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Moh, Ian Soon Lee, and Syed Fawad Mustafa Zaidi. "Game Cinematography." In ICVARS '19: 2019 the 3rd International Conference on Virtual and Augmented Reality Simulations. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3332305.3332313.

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Gleicher, Michael L., and Feng Liu. "Re-cinematography." In the 15th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1291233.1291246.

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Warren, John, Jeremy Lasky, and Danielle Feinberg. "The cinematography ofWall·E." In ACM SIGGRAPH 2008 talks. New York, New York, USA: ACM Press, 2008. http://dx.doi.org/10.1145/1401032.1401117.

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Hoyos, Carlos. "UAVs in Cinematography." In 2nd AIAA "Unmanned Unlimited" Conf. and Workshop & Exhibit. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2003. http://dx.doi.org/10.2514/6.2003-6517.

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Pitas, Ioannis, and Ioannis Mademlis. "Autonomous UAV Cinematography." In MM '22: The 30th ACM International Conference on Multimedia. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3503161.3546970.

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Albe, Felix, and Paul Smigielski. "Stereoscopic holographic cinematography." In 19th Intl Congress on High-Speed Photography and Photonics, edited by Peter W. W. Fuller. SPIE, 1991. http://dx.doi.org/10.1117/12.23947.

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Askar, Abdurahimov, Abdurahimova Svetlana, and Valieva Ranohon. "Information Technology in Cinematography." In 2019 International Conference on Information Science and Communications Technologies (ICISCT). IEEE, 2019. http://dx.doi.org/10.1109/icisct47635.2019.9011832.

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Smigielski, P., H. Fagot, and F. Albe. "Progress In Holographic Cinematography." In 1985 International Technical Symposium/Europe, edited by Jean P. L. Ebbeni. SPIE, 1986. http://dx.doi.org/10.1117/12.952444.

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Reports on the topic "Cinematography"

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Elson, David K., and Mark O. Riedl. A Lightweight Intelligent Virtual Cinematography System for Machinima Production. Fort Belvoir, VA: Defense Technical Information Center, January 2007. http://dx.doi.org/10.21236/ada464770.

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Cortés-Selva, L., M. Jurado-Martín, and L. Ostrovskaya. European Jewels: Camerimage, the uniqueness of a festival devoted to the art of cinematography. Revista Latina de Comunicación Social, March 2018. http://dx.doi.org/10.4185/rlcs-2018-1272en.

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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Józsa, Viven. Hallyu as Soft Power : The Success Story of the Korean Wave and its Use in South Korea’s Foreign Policy. Külügyi és Külgazdasági Intézet, 2021. http://dx.doi.org/10.47683/kkielemzesek.ke-2021.75.

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The Korean Wave is taking over the world, achieving great success in areas such as music and cinematography, and making Korean culture increasingly attractive. Culture being a crucial resource of soft power, which in turn serves as a powerful tool in international relations, the South Korean government is trying to take advantage of its improved national image and international influence. This analysis provides an overview of the relationship between the Korean government and the Korean Wave, how the perception of Korea has changed thanks to its cultural outflow, and how the government tries to use this to its advantage.
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