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Relevant bibliographies by topics / Cinematography

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Books
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Academic literature on the topic 'Cinematography'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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 (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 fr

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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 cine

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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 th

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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. Th

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Babalola, Oluyinka Smart. "An appraisal of cinematography technique in select Yorùbá films." International Journal of Current Research in the Humanities 28, no. 1 (2025): 222–44. https://doi.org/10.4314/ijcrh.v28i1.16.

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Visual storytelling is a deliberate and highly technical form of storytelling that involves a lot of arts, crafts and techniques as well as specialized professionals in different fields. It is impossible to contemplate the film phenomenon without dissecting the art of visual storytelling – cinematography. This technical demand may be the reason scholars have written sparsely on cinematographic technique in Yorùbá films. Therefore, this paper interrogates the art of cinematography in Yorùbá films to ascertain their technical reliability. Using the historical-analytical method, and relying on th

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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 (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.

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KALANOV, Asliddin. "CINEMATOGRAPHY AND ARTIST." Art and Design: Social Science 02, no. 01 (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 (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

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Lotman, Elen. "Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters." Baltic Screen Media Review 4, no. 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

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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 programme

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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 spo

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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

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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, d

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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

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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 nece

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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 fai

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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 subse

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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'ani

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Books on the topic "Cinematography"

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

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America, Boy Scouts of, ed. Cinematography. 2nd ed. Boy Scouts of America, 2001.

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Great Britain. India Office. Public and Judicial Department. Cinematography. India Office Library, 1994.

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

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Hoser, Tania. Introduction to Cinematography. Routledge, 2018. http://dx.doi.org/10.4324/9781315305318.

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

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

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

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

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Perisic, Zoran. Visual effects cinematography. 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. 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, 2nd ed. Routledge, 2022. http://dx.doi.org/10.4324/9781003246763-7.

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Boukary, Sawadogo. "Cinematography." In African Film Studies. 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. 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. Routledge, 2021. http://dx.doi.org/10.4324/9781003238881-6.

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Osborn, Brad. "Cinematography." In Interpreting Music Video. 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. Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-2.

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Benyahia, Sarah Casey, and John White. "Cinematography." In A Level Film Studies, 4th ed. Routledge, 2025. https://doi.org/10.4324/9781003495901-4.

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

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

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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. 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. 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. 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. 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. 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. 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. 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. Defense Technical Information Center, 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, 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, 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

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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 t

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