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Journal articles on the topic 'Cinematography, lighting'
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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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Betekeneng, Malvin Hernanta. "Meal for Two: Creating Mood and Characterization Through Cinematography." K@ta Kita 7, no. 2 (October 29, 2019): 236–43. http://dx.doi.org/10.9744/katakita.7.2.236-243.
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This creative work is about the cinematography report from the screenplay meal for two by Satrio Haryanto. The story tells about two neighbors, a man and a woman, who lives next door but they do not know about each other personally. The woman realizes that the man attracted to her but she prefers to keep her distance, but after sometime, they get together since both shares the same secret. This creative work aims to portray the mood in order to create suspense, distance and closeness and to show the man’s paraphilia, the man’s curiosity, and the woman’s introversion. An in-depth analysis will be further developed to portray the mood. In order to support those elements, there are several techniques used such as low-key lighting, framing. These techniques are to help the cinematographer to convey the drama suspense genre. In addition, a detailed analysis will further explain different uses of camera work, lighting, and color in building the characterization in the whole movie. As a result, my work as a cinematographer will explain on how the mood and characterization on this film fits with the drama suspense genre. Keywords: cinematography, low-key lighting, camerawork, color, framing.
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Barzel, Ronen. "Lighting Controls for Computer Cinematography." Journal of Graphics Tools 2, no. 1 (January 1997): 1–20. http://dx.doi.org/10.1080/10867651.1997.10487467.
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Huttunen, Sampsa. "Ecological Approach to Cinematographic Lighting of the Human Face – A Pilot Study." Baltic Screen Media Review 10, no. 2 (December 1, 2022): 274–91. http://dx.doi.org/10.2478/bsmr-2022-0020.
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Abstract One key aspect of cinematographic lighting – and lighting in general – is its direction and how the lighting illuminates people and other objects of attention. In a natural setting, the light reaching the target usually has at least some level of directionality instead of being just ambient overall light. In cinematography directionality is used, among other things, to enhance the lit object’s three-dimensionality in an otherwise two-dimensional medium by bringing out its shape and texture and separating it from the background. While lighting has typically been studied based on its physical qualities that render for quantitative measures, such as intensity or color spectrum, less is known about how cinematographic lighting gives rise to the spectator’s emotive-cognitive experiences. Overall, film lighting has been studied surprisingly little, although both practical and academic literature emphasize its important role in cinematic expression. This paper presents a pilot study that examines viewers’ emotional reactions to photographs of an expressionless human face under lighting from different directions. The initial results indicate that lighting that obscures, hides, or distorts facial features creates stronger emotional reactions in the viewer than lighting that reveals them, contributing to the scientific understanding of the audience’s reactions and the filmmaker’s creative decisions.
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Nevill, Alexander. "Cinematography and filmmaking research." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 188–96. http://dx.doi.org/10.33178/alpha.17.13.
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This paper offers an overview of a recent practice-led doctoral enquiry which examined lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. This research was completed in the Digital Cultures Research Centre at UWE Bristol and funded by the AHRC 3d3 Centre for Doctoral Training. The paper specifically reflects on three strands of enquiry which existed in dialogue with one another, showing how the mutual interaction and reinforcement between scholarly activity, collaborative film production and independent creative experimentation were fundamental to the approach and direction of the research. Amongst a wider contribution, this doctoral research can be seen as methodologically innovative, providing a more detailed first-hand investigation into lighting processes than is currently available by using autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. The paper discusses this novel use of autoethnography within practice-research and also explains how the resulting evidence was incorporated in the thesis through a layered approach to writing.
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Raehana, Hafiza Raehana. "360° PHOTO TECHNIQUES AND VIRTUAL REALITY IN CINEMATOGRAPHY." Arty: Jurnal Seni Rupa 11, no. 2 (July 11, 2022): 56–63. http://dx.doi.org/10.15294/arty.v11i2.56111.
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Era transformasi digital 4.0 ini marak penggunaan citraan berbasis digital untuk berbagai kebutuhan, dari jualan hingga hiburan. Metaverse memiliki peluang besar di Indonesia karena dapat digunakan di berbagai bidang seperti pariwisata, pendidikan, kesejahteraan sosial dan perdagangan di Indonesia. Namun demikian, belum banyak berkembang pembahasan mengenai kualitas citra yang standar untuk kebutuhan sinematografi. Citra yang dimaksud adalah suatu representasi (gambaran), kemiripan atau imitasi dari suatu objek. Citra sebagai keluaran suatu sistem perekaman data dapat bersifat optik berupa foto, bersifat analog berupa sinyal-sinyal video seperti gambaran pada monitor televisi, atau bersifat digital yang dapat langsung disimpan pada suatu media penyimpanan. Meskipun sebuah citra kaya akan informasi, namun sering kali citra yang dimiliki mengalami penurunan mutu, misalnya mengandung cacat atau denois. Metode yang digunakan dalam sinematografi meliputi camera angle, continuity, cutting, dan composition. Hasil penelitian ini adalah Penggunaan aspek sinematografi terutama dalam karya animasi ataupun syuting mempunyai mood dan teknik pencahayaan yang sama dengan pengarahan pada media yang lain. Dalam pencahayaan film VR yang menggunakan metode pembuatannya menggunakan animasi tiga dimensi mempunyai treatment yang lebih menonjolkan kesan tekstur yang gelap dan low-key lighting
In this era of digital transformation 4.0, there is widespread use of digital-based imagery for various needs, from sales to entertainment. Metaverse has great opportunities in Indonesia because it can be used in various fields such as tourism, education, social welfare and trade in Indonesia. However, there has not been much discussion about standard image quality for cinematography needs. The image in question is a representation (picture), resemblance or imitation of an object. The image as the output of a data recording system can be optical in the form of photos, analog in the form of video signals such as images on a television monitor, or digital which can be directly stored on a storage medium. Even though an image is rich in information, the image that is owned often suffers a loss of quality, for example, contains defects or defects. The methods used in cinematography include camera angle, continuity, cutting, and composition. The result of this research is that the use of cinematographic aspects, especially in animation or filming works, has the same mood and lighting techniques as directed at other media. In VR film lighting, which uses a three-dimensional animation method, it has a treatment that emphasizes the impression of a dark texture and low-key lighting.
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Petrie, Duncan. "A Changing Visual Landscape: British Cinematography in the 1960s." Journal of British Cinema and Television 15, no. 2 (April 2018): 204–27. http://dx.doi.org/10.3366/jbctv.2018.0415.
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British cinema of the 1960s offers a productive terrain for the consideration of the significance and contribution of the cinematographer, a rather neglected and marginalised figure in British cinema studies. The work of British practitioners certainly achieved new levels of international recognition during this period, with the award of five Oscars for Best Cinematography between 1960 and 1969, equalling the total from the previous twenty years. A survey of the films made in Britain during the decade also reveals a gradual transformation in visual style: from a predominance of black and white to the ubiquity of colour; from hard-edged, high-contrast lighting to a softer, more diffused use of illumination; from carefully composed images and minimal camera movement to a much freer, more mobile and spontaneous visual register; from the aesthetics of classicism to a much more self-conscious use of form appropriate to a decade associated with a new emphasis on spectacle and sensation. This article will examine major achievements in 1960s British cinematography, focusing on the factors noted above and giving particular consideration to the contribution of a small number of key practitioners including Walter Lassally, David Watkin, Nicolas Roeg and Freddie Young, who individually and collectively helped to affirm the 1960s as a particularly creative period in British cinema.
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Alfaleh, Ahmad, and Ali Fayad. "The importance of modern digital technologies in the Jordanian film industry The movie "Captain Abu Raed" as a model." Dirasat: Human and Social Sciences 49, no. 2 (August 2, 2022): 13–30. http://dx.doi.org/10.35516/hum.v49i2.1726.
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Modern digital technologies in cinema have added a great development in many fields; the most important of which is the field of cinematography, lighting, and the field of film editing. This research highlights the important role of these technologies in the development of the Jordanian digital cinematic film industry by analyzing one film as a sample, the Jordanian digital film "Captain Abu Raed", which used modern digital technologies in its production in cinema in 2008. The film is analyzed qualitatively and the role of modern digital technologies in making is examined. The research consists of four sections, where the first section includes the definition of the research problem, objectives, significane, the procedural definitions, and the research sample. The second section includes the theoretical framework for the research, where the research discusses the importance of modern digital technologies in Jordanian cinema and their development, and presents a theoretical framework regarding the basic elements in digital cinematography as follows: cinematography, lighting, and film editing. The third section also analyzes the research sample, which is a Jordanian digital cinematic film "Captain Abu Raed", and it highlights the digital technical aspects in its production. The fourth section includes the research results related to the research.
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Obot, Charles, and Ubong Andem Obong. "Narratology in Gina Prince-Bythewood’s Film - The Woman King." QISTINA: Jurnal Multidisiplin Indonesia 2, no. 1 (June 1, 2023): 1–14. http://dx.doi.org/10.57235/qistina.v2i1.331.
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This work was concerned with narratology in Prince-Bythewood’s (2022, 02:14:49) film, The Woman King. It was specifically set to analyse the narrative structure inherent in the film. In doing this, the researchers formulated four research objectives to guide the narrative analysis of the film. The objectives were to: describe how the plot is structured to enhance the film narrative; explain how the director established dramatic elements such as setting, conflict, and denouement in enhancing the film narrative; critically examine the metaphorical and literary themes that help to enhance the film narrative; and to discuss how the director’s use of cinematography enhance the film narrative. The theoretical underpinning of the Narrative Theory provided explications to the narratological exegesis attempted in the study. The study, using the qualitative content analysis and narratology methodologies, described and critically analysed Prince-Bythewood’s (2022, 02:14:49) deployment of narratives and narrative structures in the story (plot) and discourse from settings; dramatic twists; themes (metaphorical and literary); dramatic conflict/climax; denouement; and other cinematographic elements such as visual effects; stunts; lighting and lighting effect; non-linear editing; sound and sound effect; and languages of dramatic dialogue.
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Lotman, Elen. "Pedagogical Experiment with Portrait Lighting in Combination with different Actor’s intent in the case of novice Actors." International Journal of Film and Media Arts 5, no. 2 (November 13, 2020): 49–64. http://dx.doi.org/10.24140/ijfma.v5.n2.03.
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Portrait lighting and acting both carry substantial weight in creating character engagement by the viewer, but are rarely researched in conjunction. At the same time both acting and portrait lighting have considerable canons that have developed within the craft system and realized through tacit knowledge. Thus, as both are fields with considerable amount of knowledge and skills, but not enough scientific research conducted yet, it makes sense that the first expansion of knowledge should be conducted through artistic research. In line with Root-Bernstein's ArtScience approach that calls for processes of invention and exploration (Root-Bernstein, 2011), the current study tested out a possible model for researching the interaction between portrait lighting and acting. The current article should be considered as an analytic report on the first interdisciplinary experiment that melded together cinematography, acting, portrait lighting and pedagogy.
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Aspandiyarkyzy, G., and G. T. Jumasseitova. "FILM FAME AS A TOOL FOR EXPRESSING MEANING IN FILM." Keruen 83, no. 2 (June 25, 2024): 297–307. http://dx.doi.org/10.53871/2078-8134.2024.2-23.
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The purpose of this article is to investigate the influence of film frame on the perception and interpretation of meaning by viewers on the screen. The author attempts to analyze the role of frame in cinematography to shape meaning and emotionally affect the audience. Shedding light on the technical and aesthetic aspects of cinematographic art, such as the selection of angles, frame composition, lighting, and other elements, influences the perception and interpretation of the plot, creating profound and memorable visual images. This work explores how the frame is a crucial instrument in constructing meaning in cinema and significantly influences the viewer's perception of the cinematographic work. The main directions and ideas of the research include: Examining specific filming techniques such as framing, composition, lighting, colour palette, and shooting techniques, and their influence on conveying meaning and emotional charge of scenes and analyzing how specific filming techniques can affect the viewer's emotional state and their perception of events or characters; Investigating the ability of the frame to convey information through symbolism, associations, metaphors, and other hidden and indirect means; Studying how the choice of frames and visual techniques influences the interpretation of meaning, character development, and plot progression; Analyzing the role and importance of film frame in shaping the meaning of a film and providing readers with a deeper understanding of the impact of visual aspects on the perception and interpretation of the movie.
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Tongyao, Jia, and Jia Weizhang. "An Interpretation of the Light Design of Roger Deakins’ Works from the Perspective of Film Semiotics." Revista Amazonia Investiga 11, no. 52 (May 29, 2022): 96–104. http://dx.doi.org/10.34069/ai/2022.52.04.10.
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Semiotics offers an effective way for the study of light design, and has important value for the theoretical study of lighting in films. The light symbol is of conventionality, iconicity and indication. The American Cinematographer, Roger Deakins, has won two Academy Awards for Best Cinematography and been nominated 15 times for his works, which shows his high attainments in light design. In his creation, he used a variety of light design, so that the film can better show the plot of the script, restore the characters and scene modeling, which, at bottom, is a flexible use of the light symbol. With case study, literature study and interdisciplinary research, this paper takes Roger Deakins’ works as an example, attempting to interpret the light design with the theory of film semiotics from various angles, and seeking for new discoveries for the theoretical research and practical creation in light design.
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Andreas, Andreas, Mauridhi H. Purnomo, and Mochamad Hariadi. "Penerapan Logika Fuzzy untuk Pembentukan Sutradara Otonom dalam hal Pencahayaan pada Machinima (Application of Fuzzy Logic to Develop Autonomous Directors for Lighting in Machinima)." Jurnal Nasional Teknik Elektro dan Teknologi Informasi 9, no. 1 (February 5, 2020): 45–54. http://dx.doi.org/10.22146/jnteti.v9i1.147.
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Lighting is one of the most important things in the world of cinematography. There are several parameters that must be considered to produce good lighting. There are so many permutations in the lighting arrangement. It causes complexity of the process and there is no simple way to do the calculation. This complexity is compounded by the fact that each director has their own style in lighting arrangements in the film production process.This paper refers to the tabulation of the results of interviews with three movie directors and then the similarities of the three were taken. In this study, a fuzzy logic structure was built with five parameters of lighting arrangement, namely: the situation of the set, the camera's point of view, the installed light intensity, theposition and direction of the camera, and the emotions of the character. This research was conducted using 20 animated movie scenes that were built using Unity. The assessment of the output is done manually by several animated film designers. As a res ult, the designers assess that 80% of the lighting arrangement has been as expected.
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Kusumo W, Eko Cahyo, and Banung Grahita. "Analisis Technical Immersion pada Film Animasi Berbasis Virtual Reality “Crow The Legend”." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 9, no. 01 (April 14, 2023): 29–44. http://dx.doi.org/10.33633/andharupa.v9i01.5258.
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Abstrak Film konvensional menggunakan aspek cerita dan aspek sinematografi untuk membangun penceritaan visual dalam film. Pada film VR, terdapat pengalaman imersif yang dapat mengurangi fokus penonton pada konten cerita. Film animasi Crow: The Legend (2018) merupakan animasi yang memiliki penceritaan visual yang dinilai berhasil menyeimbangkan sisi imersif dan storytelling, salah satunya karena memenangkan penghargaan di kategori Immersive Storytelling Narrative VR di My Hero Film Festival 2018. Penelitian ini bertujuan untuk mengkaji bagaimana aspek sinematografi yang biasa digunakan dalam film konvensional, digunakan untuk penceritaan visual dalam film animasi VR Crow: The Legend. Metode penelitian yang digunakan adalah kualitatif deskriptif dengan analisis data menggunakan teori aspek sinematografi dan aspek imersif. Analisis dilakukan dengan menggunakan teori Technical Immersion (Elmenzeny, 2018). Peneliti menemukan bahwa aspek sinematografi yang dibagi menjadi; sudut pandang, continuity, cutting, komposisi dan tata cahaya yang disesuaikan dengan aspek Technical Immersion dapat diadaptasi untuk penggunaan dalam film VR. Kata kunci: animasi, immersion, sinematografi, virtual reality AbstractConventional films use story and cinematographic aspects to build visual storytelling in films. In VR movies, there is an immersive experience that can reduce the audience's focus on the story content. The animated film Crow: The Legend (2018) is an animation that has a visual storytelling that is considered successful in balancing the immersive and storytelling sides, one of which is because it won an award in the Immersive Storytelling Narrative VR category at My Hero Film Festival 2018. This study aims to examine how the cinematographic aspects which are commonly used in conventional films are used for visual storytelling in the animated film VR Crow: The Legend. The research method used is descriptive qualitative with data analysis using the theory of cinematographic aspects and immersive aspects. The analysis was carried out using the Technical Immersion theory (Elmenzeny,2018). The researcher found that cinematography aspects which were divided into point of view, continuity, cutting, composition and lighting adapted to Technical Immersion aspects could be adapted for use in VR films. Keywords: animation, cinematography, immersion, virtual reality
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윤용아. "Cinematography and Lighting Technique Optimized for Digital Cinema Environment －On the Movie －." journal of the moving image technology associon of korea 1, no. 18 (June 2013): 47–62. http://dx.doi.org/10.34269/mitak.2013.1.18.003.
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Yoon, Yong-Ah. "Cinematography and Lighting of Korean Cinema-Series 3: The movie, Wanee and Junah's Visual Concept and Lighting Execution-." journal of the moving image technology associon of korea 1, no. 10 (December 2008): 59–80. http://dx.doi.org/10.34269/mitak.2008.1.10.003.
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Mahmud, Nadia. "In the Presence of Photons: Portraying Light through Cinematography." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 8–14. http://dx.doi.org/10.33093/cm.2020.1.1.2.
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Film is a medium that is impossible to exist without light. Essential to its production process is cinematography, a discipline in filmmaking that is directly responsible with visually presenting the information of a shot through a camera using the manipulation of time, lighting and framing. Frame distance describes the distance between a subject and the camera but more vital is the intent of application of frame distance as it is capable of implying meaning or eliciting a feeling in the viewer. The grammar of frame distance can be utilized to present structures, themes and styles of a film. Experimental, abstract films, although non-conformist to the rules of conventional cinema, may still be confined to the concepts and techniques in cinematography. Frame distances can help to distinguish patterns as well as emphasize details in an experimental film. The abstract, short film “Trapped Light”, explores the possibility of depicting the movement of light through transmissive and reflective materials.
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Medvedieva, Alla, and Oleksandra Rosliakova. "Peculiarities of Using Lighting in the Process of Film Shooting." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (October 20, 2023): 252–62. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289311.
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The purpose of the article. It analyzes the components that influence the creation of movie images. Set the role of lighting in the shooting of an audiovisual product. Identify features and fragments when working with it. Prove the importance of the ability to use light sources in natural and pavilion locations. Identify the factors that affect the quality of the visual material. Research methodology. Such methods were used in the article: theoretical – analysis of movies, and publications; generalization – the influence of lighting on the quality of visual material; determination of interdependence (light, time of day and auxiliary objects that influence the creation of a frame); empirical – systematization of one’s own experience, determination of the relationship between lighting and the quality of visual material. Scientific novelty. The components that influence the creation of a visual image were analyzed for the first time, a detailed analysis of the dependence of the time of day and illumination in the field, which forms the illumination scheme, by means of theoretical analysis of films, the factors that influence the quality of the visual material are determined. Conclusions. In the course of the article, the main techniques of cinematography when creating audiovisual works are analyzed. The concepts of frame composition and the skill of conveying an emotional state are considered. The use of various lighting sources in natural and artificial locations is considered in detail. Based on the analysis of audiovisual products of leading masters, the importance of the ability to use different types of lighting sources has been proven. A list of the features and difficulties of using different types of lighting has been created and the key factors that have a direct impact on the quality of creating an audiovisual work have been outlined.
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Muzakki, Muhammad Ariq, Choiru Pradhono, and Adriyandi Adriyandi. "Unsur Sinematik dalam Membentuk Genre Found Footage pada Film Keramat Karya Monty Tiwa." ROLLING 6, no. 2 (October 30, 2023): 104. http://dx.doi.org/10.19184/rolling.v6i2.42645.
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This study aims to reveal and determine the role of cinematic elements contained in found footage genre films. The formation of the found footage genre contained in the film, seen from the aspects of mise en scene (setting, lighting, makeup and costumes as well as players and movements), cinematography, sound and editing. The research method used is a qualitative research method with a descriptive approach. The object of research chosen was the Sacred (2009) by director Monty Tiwa. Data in the study were obtained from observation, literature studies and documentation about films. The theory used in analyzing cinematic elements is the theory of cinematic elements by Himawan Pratista based on the theory of found footage by Alexandra Heller and Nicholas. The results of this study showed that 22 scenes were selected as objects identifying cinematic elements in forming the found footage genre. In this film, cinematic elements play an important role in supporting the packaging of found footage horror genre films so that they can build audience confidence in reality and suspense through mise en scene, cinematography, sound and editing. Acting players and subjective cameras with long-duration handheld camera techniques on films, giving greater influence to the realistic impression of found footage genre films. Keywords: Cinematic Elements, Genre Found Footage, Sacred Film.
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Wang, Qi. "Light and Shadow: Exploring the Aesthetics of Dune’s Visual Spectacle through Effects, Design, and Art Direction." Journal of Research in Social Science and Humanities 3, no. 2 (February 2024): 14–21. http://dx.doi.org/10.56397/jrssh.2024.02.03.
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This paper explores the profound aesthetics of light and shadow in Denis Villeneuve’s Dune. Drawing upon elements of cinematography, special effects, design, and art direction, the analysis examines how the interplay of light and shadow serves as a narrative language, shaping the visual storytelling experience. The study investigates the innovative use of lighting to enhance visual effects, the impact of design elements on thematic depth, and the role of art direction in creating a visually cohesive world. Additionally, it investigates the emotional and psychological dimensions influenced by the aesthetic choices, contributing to the film’s atmospheric tone and mood. Through an examination of audience reception and critical acclaim, the paper underscores Dune’s significant contribution to the contemporary visual language of cinema. The findings suggest potential areas for further research in the dynamic field of film aesthetics.
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Azizova, Amina. "The interaction of theater and cinematography in Uzbekistan culture in the first half of the xx century." Central Asian Journal of Art Studies 5, no. 4 (December 25, 2020): 94–104. http://dx.doi.org/10.47940/cajas.v5i4.257.
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The form, typology, essence and causes of the interaction between theater and cinema in the world is one of the priorities in the field, and a number of scientific studies have been conducted on the subject. In world experience, during the development of cinematography, it has been used the help of theatrical figures in overcoming the problems of acting, directing and dramaturgy. The study of theater and cinema as the main types of artistic worldview, in which the relationship between the two independent arts, exchanges of actors, process of interaction, individual characteristics were assessed, and it was considered as a new phenomenon. The article studies issues, causes and factors of influence of the same process in 1920–1930. The interaction of Uzbek theater and cinema, the study of creative ties, see it as a scientific problem has attracted attention in recent years. The article examines the role of Uzbek stage leaders in the development of screen art as a separate process, as well as the phenomenon of interaction between theater and cinema. The author explores a new creative life, a biography of a stage actor in cinema, opened for theater actors on the eve of the twentieth century. The art of filmmaking, which has been fighting for the actor for half a century, studies on facts that have attracted theater performers. Theatrical art has proven to be a model for cinematography in terms of decorating, makeup, music, lighting, and acting. Keywords: theater, actor, cinema, director, genre, image, type, role, phenomenon, screen art, character.
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Shrager, Miriam, and Natalia Matskevich-Levin. "Andrei Tarkovsky, Kazimierz Kutz and Federico Fellini: References and counterpoints." Journal of Italian Cinema & Media Studies 11, no. 3 (June 1, 2023): 487–504. http://dx.doi.org/10.1386/jicms_00193_1.
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This article provides a detailed analysis of references to other films found in two of Andrei Tarkovsky’s works, thus highlighting the films’ intertextual and intermedial nature. More specifically the article examines several referential elements found in Tarkovsky’s Ivanovo detstvo (Ivan’s Childhood) () and , which, as scholars suggest, borrow elements from Kazimierz Kutz’s Krzyż Walecznych (Cross of Valour) () and Federico Fellini’s 8½ (), respectively. Through the theoretical analysis of filmmaking techniques as well as intertextual analysis, the article seeks to explain why and how Tarkovsky employs these references in his films. The article therefore examines the cinematography of the three directors in addition to their films’ visual stylistics and formal elements. By analysing mise en scènes, types of shots, lighting, editing and more, the article proves that the references Tarkovsky employs in his two films not only justify connections to his films’ main ideas but also serve as incontrovertible evidence that his films contain references and counterpoints to Kutz’s and Fellini’s works.
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Iles, Timothy. "The Light of Life and Death–The Function of Cinematography and Lighting in Two Films by Kore-eda Hirokazu." Asian Cinema 16, no. 1 (March 1, 2005): 205–19. http://dx.doi.org/10.1386/ac.16.1.205_1.
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Lu, Yan. "Analysis on Horror Genre Films - Taking Us as an Example." Communications in Humanities Research 3, no. 1 (May 17, 2023): 451–58. http://dx.doi.org/10.54254/2753-7064/3/20220409.
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Horror movies are usually regarded as empty calories for audiences to watch. The film industry did not pay much attention to horror genre movies. But since Get Out (2017) and Hereditary (2018) was released, horror films begin a new era. They have respect from the studios and their audiences and contain many cultural things and become more thought provoking. The paper, through a method of literature analysis, explores some deep meanings behind nowadays horror movies and how they achieve these by using cinematography, color elements and metaphors, especially in Us (2019), which is directed by Jordan Peele. In the film Us, us vs. them mentality is presented. Duality is also a significant idea in the film. Jordan Peele employs visual design like red clothes and gold scissors and uses low key lighting, diverse colors and a lot of props. The paper also emphasizes the political issues that are revealed in the film. The paper finds that horror movies can help people relax themselves and at the same time, reveal humanities, realistic problems and social situations.
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Karim, Ingkar, and Madina Bakeyeva. "CULTURAL IDENTITY OF EMERGING FILMMAKERS: THE EXPERIENCE OF CENTRAL ASIAN STUDENT FILMS." Central Asian Journal of Art Studies 8, no. 4 (January 5, 2024): 43–58. http://dx.doi.org/10.47940/cajas.v8i4.700.
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This article explores the cultural impact of emerging filmmakers to Central Asian cinemathrough an analysis of their student films. The study aims to highlight the themes commonly used inCentral Asian student films and how they reflect the region’s cultural identity.Using a comparative analysis, this study examines a selection of student films from Central Asianfilm schools, analyzing the common themes and motifs present in the films. The results reveal that themost frequently used themes in Central Asian student films are cultural traditions, social issues, familydynamics, and gender roles.The analysis also indicates that these themes are depicted through a variety of film techniques,including framing, lighting, and camera angles, highlighting the influence of cultural values andaesthetics on the region’s filmmaking practices.The study concludes that Central Asian student films provide a unique insight into the region’scultural identity, as emerging filmmakers use their work to explore and represent their experiencesand perspectives. These films offer a platform for the expression of cultural values and ideas,highlighting the diversity and richness of the Central Asian region.The findings of this study contribute to the understanding of the cultural significance of emergingfilmmakers and the importance of cultural identity in worldwide cinematography. The articleemphasizes the need for continued support and recognition of Central Asian filmmakers and theirwork, providing a platform for the development and promotion of the region’s cultural identity.
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Ramadhani, Angeli, Yustina Sopacua, and Ronald Alfredo. "Representasi Toxic Masculinity Pada Film “Seperti Dendam, Rindu Harus Dibayar Tuntas”: Analisis Semiotika Model Jhon Fiske." BAILEO : JURNAL SOSIAL HUMANIORA 1, no. 1 (September 26, 2023): 67–82. http://dx.doi.org/10.30598/baileofisipvol1iss1pp67-82.
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This article aims to describe the representation of toxic masculinity in the film "Seperti Dendam, Rindu Harus Dibayar Tuntas" through the main male character and film scenes. The film analysis of "Seperti Dendam, Rindu Harus Dibayar Tuntas" employs the semiotic data analysis technique using John Fiske's model. There are three levels of coding in this model: the level of reality, the level of representation, and the level of ideology. The research findings indicate that the representation of toxic masculinity portrayed by the main character at the level of reality is evident in the category of costumes, as seen in Ajo Kawir's simple attire. The level of representation code depicting toxic masculinity is displayed through cinematography techniques such as medium shots, close-ups, two shots, and over-the-shoulder shots. The ideology level observed is the high individualism of Ajo Kawir, who exhibits a sense of superiority, acts in his self-interest, and is stubborn. The toxic masculinity of the main character is influenced by past traumas and the patriarchal society depicted through John Fiske's semiotic model. The level of reality of social codes is conveyed through costumes, speech styles, and expressions. The level of representation of social codes is presented through camera work and lighting. The level of ideology of social codes is depicted through actions, dialogues, and character traits.
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윤용아. "Cinematography and Lighting of Korean Cinema Series 4: The visual concept of the movie, and the importance signified by the choice of medium on the development of visual technology." journal of the moving image technology associon of korea 1, no. 16 (June 2012): 119–36. http://dx.doi.org/10.34269/mitak.2012.1.16.007.
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Baltussen, Liesje, and Steff Nellis. "Rethinking biases: Een meerstemmig gesprek over postkoloniale blinde vlekken in cinema." Forum+ 27, no. 1 (March 1, 2020): 34–35. http://dx.doi.org/10.5117/forum2020.1.nell.
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Abstract Waarom is het tegenwoordig nog moeilijk om twee lichamen met verschillende huidskleur samen vast te leggen? Waarom ervaren zwarte performers zoveel problemen met make-up en lichtinval op filmsets? Hoe is het mogelijk dat projecten van filmmakers zonder strikt Belgische achtergrond vaak maar moeilijk financiële steun genieten? Het zijn enkele van de blinde vlekken in het filmmaken die PRISM (2020) blootlegt. Drie filmmaaksters met een verschillende huidskleur, An van. Dienderen, Rosine Mbakam en Eléonore Yameogo, werken voor PRISM samen rond het ‘dekoloniseren van de cinematografie’. Het resultaat is een gesamtkunstwerk dat uitgaat van het idee dat het filmisch medium de witte huid op technologisch en ideologisch vlak bevooroordeelt ten opzichte van donkere huidtypes. Liesje Baltussen en Steff Nellis gingen met de makers van PRISM in gesprek op allerlei manieren. Het resultaat is een collectief werkdocument waarin ze pogen ieders stem ‐ ook die van u, als lezer ‐ te betrekken. Why is it still hard today to capture two bodies with a different skin colour together? Why do black performers experience so many problems with make-up and lighting on film sets? How come it is hard for filmmakers without a strictly Belgian background to get financial support for their projects? These are just some of the blind spots in filmmaking exposed by PRISM (2020). With PRISM, three filmmakers with a different skin colour, An van. Dienderen, Rosine Mbakam and Eléonore Yameogo, take on the task of 'decolonising cinematography'. The result is a 'gesamtkunstwerk' that builds on the idea that the medium film favours white skins over darker skin tones, both technologically and ideologically. Liesje Baltussen and Steff Nellis entered into conversation with the makers of PRISM in various ways, ultimately creating a collective work of art in which they try to make every voice heard - and that includes yours, dear reader.
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SAMUR, Serpil. "THE IMPORTANCE OF AESTHETIC ELEMENTS IN THE ART OF CINEMA AN ASSESSMENT ON." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 28 (September 28, 2021): 101–15. http://dx.doi.org/10.31623/iksad072808.
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Besides being an art, cinema also reveals the existence of a linguistic ability. In this way, with a flexible and dynamic narrative structure that turns changed so as to maintain its coherence, which can create endless imaginative narratives and present these narratives that provide a structure which allows the viewer. Cinema is quite close to the appearance in life, and the illusion of reality is an inalienable attribute of it. Reality is sometimes used as a whole, sometimes a part of it is reflected on the screens. At the core of the language of cinema lies the visual perception of the world in which people live. The concept of aesthetics is essential to understanding the ways in which contemporary and popular culture interacts with cinema. Light, sound, color and movement elements are involved in providing visual communication. Color, one of the most important elements of visual design in the cinema industry, is at the heart of the narrative world created by cinema. Basically there is no color, there is light. The element of color can be said to be an aesthetic transformation of reality or a directed, interpreted sense of reality. Every image in the cinema is accepted as a sign as the carrier of the filmic image. In addition to this, cinema is a visual art, as well as an auditory art. Cinema, which was considered as an art before sound, has undergone a structural change with the introduction of sound. Cinema aesthetics is a special aesthetic area established with cinematography and dealing with beauty. For this reason, the aim of the study is to reveal the importance of aesthetic elements for the art of cinema. In addition, the basic aesthetic elements in the art of cinema are discussed in detail and it is tried to explain why aesthetic elements are important for the art of cinema. Keywords: Cinema Art, Aesthetics, Lighting, Color, Image, Sound.
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Voodla, Alan, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg. "Cinematographic High-Contrast Lighting Can Facilitate Empathetic Affective Mimicry." Projections 14, no. 1 (March 1, 2020): 1–17. http://dx.doi.org/10.3167/proj.2020.140102.
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AbstractDo cinematographic lighting techniques affect film viewers’ empathic reactions? We investigated the effect of high- and low-contrast lighting on affective empathy toward depicted actors. Forty one participants watched short clips of professional actors expressing happiness, anger, and disgust, and rated the valence and intensity of their own and actors’ emotional states. Affective empathy was assessed through the extent of the facial mimicry of actors’ emotional expressions and quantified through electromyographic activation of expression-specific facial muscles. We managed to elicit facial mimicry for happiness and anger, but not for disgust. High-contrast lighting further amplified empathic mimicry for happy but not for angry expressions. High-contrast lighting also amplified subjective feelings elicited by angry and disgusted but not happy expressions. We conclude that high-contrast lighting can be an effective means for influencing film viewers’ empathic reactions through the low road to empathy, even as the overall impact of lighting also relies on the high road to empathy.
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김태현. ""INEIRAISAN(AKARI-Lighting)" -In conjunction with light of cinematograph space-." Journal of Japanese Culture ll, no. 34 (August 2007): 335–61. http://dx.doi.org/10.21481/jbunka..34.200708.335.
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Csoboth, Attila. "Man with a Light Projector: László Moholy-Nagy’s Cinematographic Toolkit." Disegno, no. 1-2 (2021): 178–88. http://dx.doi.org/10.21096/disegno_2021_1-2acs.
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The Light Prop for an Electric Stage—also known as the Light–Space Modulator—is a major piece by László Moholy-Nagy, yet its intended use has remained subject to debates. Does its importance lie in being a stage lighting tool, a three-dimensional mobile sculpture, or conversely, a projector which shows its full glory in Light Play: Black–White–Grey, the film Moholy-Nagy created with and about it? As a cinematographer, I will argue in this essay that the Light Prop stages an elemental engagement with light by someone constantly tinkering with the kind of lighting props that are still very much in use in photography and filmmaking today.
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Nevill, Alexander. "Cinematographic affordances: creative approaches to lighting in moving image practice." Media Practice and Education 19, no. 2 (May 4, 2018): 122–38. http://dx.doi.org/10.1080/25741136.2018.1464714.
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Annus, Imre. "Visuaalne dokument sõnas ja pildis / Visual Documentation in Words and Images." Studia Vernacula 5 (November 5, 2014): 146–52. http://dx.doi.org/10.12697/sv.2014.5.146-152.
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Today’s ethnographers have high-tech recording gear for documenting the skills passed from one generation to the next. With the help of skilful production, the visual recording can be an invaluable source for research conducted decades later. Documentalists seeking to achieve scientifically valuable results must master the recording technology as well as the topic being covered. They must be a journalist who can manage sources skilfully, a competent ethnographer, an artistically inclined cinematographer and a lighting specialist.Imre Annus provides insight into how the documentation of native techniques should start and which problems should be focused on, based on several decades of his experience as a director, cinematographer and editor.
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Annus, Imre. "Visuaalne dokument sõnas ja pildis / Visual Documentation in Words and Images." Studia Vernacula 5 (November 5, 2014): 146–52. http://dx.doi.org/10.12697/sv.2014.5.146-152.
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Today’s ethnographers have high-tech recording gear for documenting the skills passed from one generation to the next. With the help of skilful production, the visual recording can be an invaluable source for research conducted decades later. Documentalists seeking to achieve scientifically valuable results must master the recording technology as well as the topic being covered. They must be a journalist who can manage sources skilfully, a competent ethnographer, an artistically inclined cinematographer and a lighting specialist.Imre Annus provides insight into how the documentation of native techniques should start and which problems should be focused on, based on several decades of his experience as a director, cinematographer and editor.
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Ayuningtyas, Paramita. "The Structural Analysis of Pan’s Labyrinth by Guillermo Del Toro as A Fantastic Film." Humaniora 6, no. 2 (April 30, 2015): 177. http://dx.doi.org/10.21512/humaniora.v6i2.3323.
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Using structural approach and Tzvetan Todorov’s theory about ‘absolute hesitation’, this research discusses how the narrative and cinematographic elements build Pan’s Labyrinth (2006) as a unique fantastic film. Directed by Guillermo del Toro Pan’s Labyrinth is a film in Spanish about a little girl named Ofelia who has to live in a house in the middle of the forest and experiences many bizarre incidents, including meeting the Faun. The narrative elements discussed in this paper are motives and themes, while the cinematographic elements are settings, lighting and colours. To analyze the data, this research uses a qualitative method that lies on library research. The result of the discussion shows how the intrinsic elements successfully built ‘absolute hesitation’ in Pan’s Labyrinth. Thus, Pan’s Labyrinth can be categorized as a fantastic film with a dark twist that is Del Toro’s irreplaceable characteristic in directing films.
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Orisayemi, Alphonsus, and Henry Afabor. "A Critical Scrutiny of Cinematic Lighting Technique in Cultural works of Selected Yoruba Nollywood Films." NIU Journal of Humanities 8, no. 3 (September 30, 2023): 59–67. http://dx.doi.org/10.58709/niujhu.v8i3.1694.
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It could be reiterated that, of all the components of mise-en-cadre, cinematographic lighting is one of the most important features but this component had received little attentions from most Nigerian film critics or scholars. In most cases, this element is only used to explain or buttress relevant points in film theory and discourse. However, in this study, attention will be devoted on the deployment of cinematic lights and the various techniques used in selected Nollywood films. In the creative deployment of the 3-point lighting technique in selected cultural works of Yoruba Nollywood films, the researcher employed a library study, descriptive analytical cum studio diagnostic approaches as the basic methods of data gathering. The observation research method is deployed as secondary source of information. While a structuralist hypothetical approach is equally employed as a theoretical framework. In this exploration, the paper reviews the concepts of cinematic lighting before zooming on to discuss the key light, fill light and backlight as components of the 3-point lighting system. Practical analysis and demonstration are thus carried out with concrete sample shots from selected Yoruba films. Finally, it is recommended that a 3-point lighting technique should be creatively utilised as innovative device through which a director and the light-designer could create impressive and wonderful pictures and thus improve on the quality of Yoruba films. Keywords: 3-Point-Lighting, Cultural works, Nollywood, Yoruba films
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Bikkulova, Diana R. "Cinematographic techniques in 1920s Russian opera theatre." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 1 (2023): 104–13. http://dx.doi.org/10.35852/2588-0144-2023-1-104-113.
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The article examines cinematography’s influence on the Soviet opera theatre of the 1920s. By the beginning of this decade, cinema rapidly gained popularity and began being perceived as a serious competitor to theatre. Awareness and comprehension of the new “threat” reasonably led to appeals for upgrading theatrical language with the help of new technical means. There were several innovations in the operas on stage: the use of intense straight lighting with the help of floodlights, montage as a director’s technique, the use of film screen in opera productions. It all confirmed that the process of cinemafication of the theatre had also affected the opera stage. The new trends expressed themselves in the productions of Sergey Radlov (“Vozzek” by Alban Berg), Nikolay Smolich (“The Golden Cockerel” by Nikolay Rimsky-Korsakov, “Johnny Plays” by Ernst Krenek), Iosif Lapitsky (“Salome” by Richard Strauss, “The Queen of Spades” by Petr Tchaikovsky). Thus, in his version of “The Golden Cockerel” (1923), the opera director N. Smolich used a film projection, and then, staging E. Kshenek’s opera “Johnny Plays” (1928), he used animation. In the “The Queen of Spades” (Experimental Theatre), I. Lapitsky while trying to make the action cinematically dynamic, divided it into forty small episodes. The influence of cinema can also be traced in opera performances of the 1920s. The most vivid example is Dmitry Shostakovich’s opera “The Nose” with his special montage style of action. Opera cinemafication didn’t reach such heights as in dramatic theatre and faced a different, not always approving, reaction from the musical press. The time of ambitious experiments ended in the 1930s with a change in the country’s cultural policy.
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COKER, Wincharles. "Transgressive Rupture or Subversive Culture: A Semiotic Deconstruction of Staetopygia in West African Cinema." Abibisem: Journal of African Culture and Civilization 7 (December 5, 2018): 120–44. http://dx.doi.org/10.47963/ajacc.v7i0.42.
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Based on a critical visual analysis of the scopophilia, body fetishism, and commodity culture, I attempt to deconstruct representations of the huge derrières of two actresses in Ghallywood and Nollywood. The analysis pays attention to how cinematographic elements of composition, color, and lighting in selected films the two actresses have starred reinforce the myth of the butt as a signifier of economic and socio/cultural capital. The article raises concerns over whether the hyper-sexualization of West African films points to a transgressive rupture of the industry or a subversive culture of the African ethos of decency.
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Cha, Mi Song, Atikah Ruslianti, and Dwi Linda Kusuma. "On the “mise-en-scène” of Pinoocchio 1940 and 2022 films' versions." Lililacs Journal : English Literature, Language, and Cultural Studies Journal 4, no. 1 (February 1, 2024): 1–10. http://dx.doi.org/10.21009/lililacs.041.01.
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This study examines the film Pinocchio (2022) by Robert Zemeckis in comparison to the 1940 version of old animation on the basis of mise-en-scène. The analysis was done using the descriptive analysis method with the film approach and the films are analyzed on both the narrative and cinematographic aspect. The result showed that two films show a lot of similarities since they were both made on the same story. The analysis of the narrative aspect showed that they have different opening and conclusion in plot, have extra more characters in the new film, as well as show different social setting of the film. The cinematic examination proved that the new film put more details on the props of cuckoo clocks made by Geppetto and the lighting analysis showed that the 1940 version used constant high-key lighting while the new version used both low-key and high-key lighting. The 2022 version also used various camera angles and movements, while the 1940 version used constant standard camera angles throughout the film. The overall analysis showed that while the old version is made simply for young audiences, the new film targets audiences of not only young children, but also young adults.
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ORTA, Nermin. "RE-READING MUSTANG IN THE CONTEXT OF THE IDEOLOGICAL COMPONENTS OF NARRATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 2 (April 1, 2021): 617–34. http://dx.doi.org/10.7456/11102100/019.
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Representation of the female body has been one of the most emphasized issues in gender debates. To refrain from reproducing the patriarchal ideology, it is important to be careful with the distinction between the body being tabooed and covered or transformed into an object of consumption under the name of freedom. The sexualization and objectification of the female body has taken place in the historical process. In many products from works of art to mass media, the woman, who is a passive object in front of the man who is the active/subject, is presented to the consumption of the male gaze. In almost every branch of art, from photography to cinema, the female body has been the object of the gaze and has been turned into an object of desire by being removed from the subject identity. Even in films that are claimed to be made with a woman's point of view and against gender discourses, the female body is sometimes objectified with elements such as the stage order, lighting, and perspective preferences. In this study, which aims to reveal how cinematographic elements can change the world of meaning, the first film of Deniz Gamze Ergüven, Mustang (2015), was discussed with feminist criticism in the axis of object-body by giving examples from various art branches in terms of cinematographic preferences. As a result of the study, it has been determined that the film, which claims to have set out with critical point of view, reproduces the discourses it tries to criticize. The reason for this is that the film falls into the traps of patriarchal ideology.
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Kolotvina, Olga V. "Larionov’s Rayonism and Val del Omar’s Cinematic Technique “Tactile Vision”." Observatory of Culture 20, no. 2 (May 31, 2023): 177–87. http://dx.doi.org/10.25281/2072-3156-2023-20-2-177-187.
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The article for the first time presents a comparative analysis of pictorial Rayonism by the Russian painter M. Larionov and the cinematic technique “tactile vision” by the Spanish film director J. Val del Omar. It also provides a theoretical foundation of using the artistic lighting techniques and features of their practical application. J. Val del Omar’s original lighting system “tactile vision” was analyzed by the example of his film “Fire in Castile” (1960), where he used it for animation of baroque religious sculptures. The concept of “tactile vision”, based on the understanding of vision as a developed sense of touch, made it possible to convey in the film not only the visual appearance of objects, but also their internal emotional dynamics. The article demonstrates that the Rayonist paintings by M. Larionov represent a complex dialectical synthesis of various ideas and practices and are open to more than one interpretation. Despite the artist’s desire to create non-objective painting, in a number of his works there is a connection with the subject of the picture at the visual level or at the level of the general idea of the object. This brings Rayonism closer to the “tactile vision”. The article shows that both artists created their concepts based on the analysis of visual perception. But they understood the possibilities of human vision in different ways, which determined the choice of sensuality mechanisms for creating artworks. It is revealed that the model of the cinematographic system of artistic light pulsation invented by J. Val del Omar coincides with that one of M. Larionov’s Rayonism in a number of structural indicators. Despite the fact that the ontological guidelines of these models differ when studying the possibilities of light, their functionality turns out to be close, and therefore their aesthetic effects allow for productive comparison within the framework of art criticism analysis.
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Fitria, Meilanie. "Representasi Makna Film Berjudul "Barodak"." INVENSI 8, no. 2 (December 1, 2023): 129–47. http://dx.doi.org/10.24821/invensi.v8i2.8029.
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Penciptaan ini bertujuan untuk merepresentasikan makna Barodak yang terbentuk dari keterkaitannya dengan berbagai unsur perfilman. Bentuk pengemasan yang dipilih oleh pengkarya yakni film tari, demi mempersingkat durasi film serta mempertimbangkan bahwa alasan utama representasi film berjudul Barodak ini untuk membedah proses kreatif pembuatannya sehingga sampai menjadi bentuk film yang utuh dan bisa dinikmati oleh masyarakat umum. Menganalisis dimensi perfilman apa saja yang terdapat di dalam karya ini, salah satunya bisa dilihat dari alur film seperti proses awal film Barodak memperlihatkan pengambilan shoot zoom in seorang penari menyalakan lilin secara detail mengungkapkan makna penerangan kehidupan bagi pengantin kelak saat membangun rumah tangga. Hal inilah yang membuat media film dijadikan sebagai usaha untuk merepresentasikan film Barodak karena mampu memperlihatkan objek terkecil menggunakan teknik perfilman yang lebih dikenal dengan teknik sinematografi. Selanjutnya karya ini menggunakan metode master scene method yang dilakukan dengan pengambilan beberapa shoot, terdiri atas master shoot dan coverage shoot, namun beberapa bentuk di dalam film diusahakan tidak akan terlalu jauh menggeser bentuk adat istiadat Barodak sebenarnya, mengingat dalam ranah film tentu saja ada beberapa bagian yang akan didramatisasi pengkarya agar layak menjadi sebuah tontonan yang tidak bersifat monoton.Representation of the Meaning of the Film Barodak ABSTRACT This creation aims to represent the Barodak meaning that is formed from its connection with various elements of film. The form of packaging chosen by the creators, namely dance films, is to shorten the duration of the film and to consider that the main reason for the representation of the film entitled Barodak is to dissect the creative process of making it so that it becomes a complete film and can be enjoyed by the general public. Analyze what film dimensions are contained in this work, one of which can be seen from the plot of the film such as the initial process of the Barodak film showing a zoom in shoot of a dancer lighting a candle in detail revealing the meaning of lighting life for the future bride and groom when building a household. This is what makes film media used as an attempt to represent Barodak films because they are able to show the smallest objects using film techniques, better known as cinematographic techniques. Then this work uses the master scene method which is carried out by taking several shots, consisting of a master shot and a coverage shoot, however, some forms in the film are tried not to shift too much the form of the actual baroque customs, bearing in mind that in the realm of film of course there are several parts that will be dramatized by the artist so that it is worthy of being a spectacle that is not monotonous.
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Sung, Yu-Lun. "Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones." Film Education Journal 5, no. 2 (November 17, 2022). http://dx.doi.org/10.14324/fej.05.2.05.
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Cinematographers are trained to control and measure the relative difference in brightness between two parts of a scene, or a face, for expressive purposes. Painting is often referred to for inspiration as practitioners learn to compose and represent light and shadow in an aesthetically considered manner. In this respect, it is noteworthy that the painters generally studied by film-making students are mostly from Renaissance traditions and produced work featuring predominantly White models. This gap of racial representation in cinematographic pedagogy is stark and has long been overlooked. This article mounts an enquiry into the lack of diversity in cinematography education, examining how different aesthetic traditions, such as Asian ink paintings, could pave new ways for decolonising the conventional conceptions of lighting ratios. Drawing on qualitative and quantitative case studies undertaken in university workshops, I discuss how students respond to Black and Asian artwork as visual references when they are tasked with lighting models with non-White skin tones to accommodate the different reflectance of their skins. By comparing the learning outcomes and current industry techniques for optimising screen representation of Black, Asian and minority ethnic groups, the article evaluates how students respond to learning from modern artwork that promotes diverse identities, and argues for the benefits of integrating greater inclusiveness into cinematography.
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Hendrajat, Sulthan Bonang, Pepen Priyawan, and Yoga Sudarisman. "CINEMATOGRAPHY IN GABRIELE MUCCINO’S THE PURSUIT OF HAPPINESS (2006)." CALL 5, no. 1 (July 28, 2023). http://dx.doi.org/10.15575/call.v5i1.19539.
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This study aimed to study cinematography elements presented in Gabriele Muccino’s The Pursuit of Happiness (2006). To analyse the object of the research, it used cinematography theory by Blain Brown. The study used descriptive qualitative research design. Drama genre is one of the biggest and popular genre in the movie industry, since it shares some empathy, hopes, aspirations, dreams and fears (Editors, 2018). It focused on analysing the dramatic aspect through cinematography using Gabriele Muccino’s The Pursuit of Happiness (2006) movie. The study found that many cinematography elements in Gabriele Muccino’s The Pursuit of Happiness (2006) are proven using dramatic aspect from both lighting and camera technique. In conclusion, the movie shows a drama genre movie which has cinematography elements that need to be added to deliver the emotion of the story and to increase dramatic elements in the movie. Keywords: cinematography, genre, drama
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Slansky, Peter C., and Katrin Richthofer. "Survey on teaching experiences in cinematography." Advanced Optical Technologies, April 3, 2019. http://dx.doi.org/10.1515/aot-2019-0020.
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Abstract In a recent survey, 125 cinematographers were asked to describe their teaching experiences. This article summarises their responses to eight question modules. The top three teaching topics are lighting design, artistic use of the lens and picture composition for film and television cameras. From all actual technological developments, digital colour grading is seen as having the greatest impact on teaching cinematography, as well as on cinematography itself. While almost all teachers use digital cameras for their daily work, about 40% still also use traditional film in their courses. Even in the digital age, the traditional film helps draw the students’ attention away from technical options towards precision and accuracy in the actual recording of scenes.
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Aslanyürek, Yusuf, and Ersin Aycan. "CINEMATIC FUTURES: THE IMPACT OF AI ON THE CINEMATOGRAPHY." İNİF E - Dergi, March 5, 2024. http://dx.doi.org/10.47107/inifedergi.1420488.
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This article aims to explore the impact of artificial intelligence on cinema, specifically its transformative effects on the art form and contributions to cinematography. Artificial intelligence is expected to accelerate and improve the design process at various stages of film production, from screenwriting software to visual design, editing, music design, scoring, and visual effects. This will help the creative team aesthetically and speed up the film completion process, reducing the film budget. In the near future, it may be inevitable that cinematographers will use artificial intelligence in their creative process. This could include the use of AI to assist the aesthetics and methods established at the scripting stage, and composition, lighting, colour correction. This situation raises serious concerns about the artist's approach. This study aims to show how cinematographers can benefit from AI technology using the film The Announcement (2017) by director Mahmut Fazıl Coşkun as an example. The method of the study was determined as descriptive content analysis from qualitative research techniques. Since the cinematographic contribution of the cinematographer is to be compared with artificial intelligence in the film, a scene in which the art director, costume designer, and makeup artist cannot use their own original interpretation was specifically selected and processed. Since the film is an adaptation of a real story and reflects a real event, the decor, costume, and makeup really need to be done in accordance with that time, certain scenes of the film were selected and focused on the cinematographer's interpretation, and an attempt was made to recreate and evaluate the same scene using codes written for artificial intelligence.
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"Lighting for cinematography: a practical guide to the art and craft of lighting for the moving image." Choice Reviews Online 52, no. 06 (January 21, 2015): 52–3000. http://dx.doi.org/10.5860/choice.187071.
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Parkyn, Megan. "Struggle and Emerge: An Analysis of the Biopic, Documentary, and Drama Film Genres." Mount Royal Undergraduate Humanities Review (MRUHR) 3 (November 19, 2015). http://dx.doi.org/10.29173/mruhr227.
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A historical film is fostered through the effective integration of cinematic language. It is through the development of cinematic components that film genres such as the drama, documentary, and biopic can be compared. The drama Flags of Our Fathers, the documentary We Were Children, and the biopic Walk the Line are comparable through the analysis of the directors’ incorporation of specific film language. The similarities and differences among the film genres are evident in cinematic components such as cinematography, lighting, and symbolism. Greater analysis exposes how film language contributes to the films historical significance.
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Suprihono, Arif Eko, and Andri Nur Patrio. "Menemukan Formula Sinematografi Seni Pertunjukan." Resital: Jurnal Seni Pertunjukan 12, no. 1 (November 2, 2013). http://dx.doi.org/10.24821/resital.v12i1.453.
Full textAbstract:
Fokus dari sinematografi untuk seni pertunjukan dimaksudkan untuk diskusi tentang pembuatan pilihanpencahayaan dan kamera saat merekam aktivitas seni pertunjukan di panggung untuk program televisi. Televisiadalah bentuk di mana sesuatu disampaikan, dicapai, atau ditransfer ke sejumlah besar orang. Isu ‘efek’ televisikehilangan program-program yang mengarah perlu diminta tidak hanya dalam hal efek atau kegiatan penontontetapi juga dalam hal kesempatan yang hilang bagi keanekaragaman budaya yang akan diekspresikan pada kreativitastelevisi. Setiap aspek dari televisi menunjukkan ketergantungan pada genre, yang merupakan kelompok kategorisproses diskursif yang transek teks melalui interaksi budaya mereka dengan industri, penonton, dan konteks yanglebih luas. Kita mungkin mulai diskusi dengan memulai dengan contoh tekstual seperti ketoprak humor, wayangkulit, opera van java sebagai praktek industri, pergeseran sejarah, atau kontroversi penonton.Kata kunci: sinematografi , seni pertunjukan, ketoprak humorABSTRACTThe Formula of Performing Arts Cinematography. The focus of cinematography for performing arts is intendedto a discussion about the making of lighting and camera choices when recording performing arts activities on stage for thetelevision programs. Television is the form in which something is conveyed, accomplished, or transferred to a large numberof people. The issues of ‘the effects’ of television miss leading programs needs to be asked not only in terms of effects oraudience activity but also in terms of missing opportunities for cultural diversity to be expressed on television creativities.Every aspect of television exhibits a reliance on genre, which are categorical clusters of discursive processes that transect textsvia their cultural interactions with industries, audiences, and broader contexts. We might begin a discussion by startingwith a textual example such as ketoprak humor, wayang kulit, opera van java as an industrial practice, a historical shift,or an audience controversy.Key words: cinematography, performing arts, cultural values, aesthetical consideration, television effects