Relevant bibliographies by topics / Cinematography style

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

Academic literature on the topic 'Cinematography style'

Author: Grafiati
Published: 24 April 2022
Last updated: 27 April 2022

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Journal articles on the topic "Cinematography style"

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Taras, Katarzyna. "“I like it close” – Jolanta Dylewska’s art of cinematography." Panoptikum, no. 23 (August 24, 2020): 77–86. http://dx.doi.org/10.26881/pan.2020.23.06.

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The author presents the cinematographer and director Jolanta Dylewska, striving to define her cinematographic style. Although Dylewska began working independently as a cinematographer only after the turn of 1989, her position in the history of Polish and European cinema can be determined through awareness of her female pioneership in this profession, set against the background of generations of graduates of the Cinematography Department at the Lodz Film School. The researcher focuses on films that are the result of Dylewska’s collaboration with transnational directors, Agnieszka Holland (In the Darkness, Spoor) and Sergey Dvortsevoy (Tulpan, Ayka). The cinematographer denies that she has developed her own individual style, her goal is to find a style that will communicate the director’s vision. The researcher, however, finds characteristic features in her images, such as telling stories through landscapes and faces, including animals, and immersing the viewer in images – by using light and sharpness and bringing all the cinematographer’s technical expertise into play.
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Junaedi, Hartarto, Mochamad Hariadi, and I. Purnama. "Profiling Director’s Style Based on Camera Positioning Using Fuzzy Logic." Computers 7, no. 4 (November 14, 2018): 61. http://dx.doi.org/10.3390/computers7040061.

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Machinima is a computer imaging technology typically used in games and animation. It prints all movie cast properties into a virtual environment by means of a camera positioning. Since cinematography is complementary to Machinima, it is possible to simulate a director’s style via various camera placements in this environment. In a gaming application, the director’s style is one of the most impressive cinematic factors, where a whole different gaming experience can be obtained using different styles applied to the same scene. This paper describes a system capable of automatically profile a director’s style using fuzzy logic. We employed 19 output variables and 15 other calculated variables from the animation extraction data to profile two different directors’ styles from five scenes. Area plots and histograms were generated, and, by analyzing the histograms, different director’s styles could be subsequently classified.
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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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Sokołowski, Marek. "Polskie kino lat 1949–1955 wobec realizmu socjalistycznego. Ideologiczna mobilizacja jako kontekst dla myśli pedagogicznej." Problemy Wczesnej Edukacji 39, no. 4 (September 28, 2017): 105–13. http://dx.doi.org/10.26881/pwe.2017.39.10.

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The article concerns a specific period in the history of Polish cinematography, called socialist realism (1949–1954). The new style of filmmaking (according to the ideology of the Polish Communist Party), was imposed by the filmmakers, but was not accepted by the cinema audience.
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Pogrebniak, Galyna P., Olha S. Boiko, Kateryna V. Iudova-Romanova, Oleksandr M. Priadko, and Kateryna S. Stepanenko. "art of director, screenwriter, and actor Martin Scorsese as an author's cinematography model." Linguistics and Culture Review 5, S4 (November 24, 2021): 1439–50. http://dx.doi.org/10.21744/lingcure.v5ns4.1765.

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Martin Scorsese is an outstanding contemporary director, who strongly influenced the artistic and aesthetic foundations of American (authors’ in particular) cinematography of the 19th–20th centuries He was and remains one of the outstanding creators who shaped the aesthetics of the “New Hollywood” cinematography. In the period from 1917 to the early 1960s, there was a paradigm of “classic Hollywood”, in which films were produced according to the dominant aesthetic, genre and narrative formulas, the characters represented themselves as specific typical images with understandable motivations for the general public. Martin Scorsese is a representative of cinematography, who changed classical views of film art. That is why the study of Martin Scorsese's work remains relevant for researchers in the field of cinematography and culture to the present day. The purpose of this work is to study the creativity of director, screenwriter and actor Martin Scorsese, as well as to identify the author's style in the artist's work, determine his author's handwriting and manner. The methodology of this research is based on theoretical methods of scientific knowledge, in particular, the method of information analysis and synthesis, the cultural method, as well as historical and comparative methods were used.
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Lan, Shindy. "Style of “the Pictorial Shakespeare”—— Auteur Theory Applying to Akira Kurosawa’s Work." Review of Educational Theory 1, no. 4 (December 4, 2018): 137. http://dx.doi.org/10.30564/ret.v1i4.340.

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By investigating the cinematography and thematic concerns of Akira Kurosawa’s work under the auteurist criteria, it can be argued that Kurosawa is an auteur whose work possesses three distinctive authorial signatures: the active involvement of nature, the strong sense of stage-performance, the editing on movement; and the consistent visual style has corresponding meaning concerning his personal experience and socio-historical circumstances.
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Sidorova, Galina Petrovna. "Soviet everyday life: migrations from rural areas to the city, and their reflection in cinematography (1930-1980)." Культура и искусство, no. 1 (January 2021): 50–62. http://dx.doi.org/10.7256/2454-0625.2021.1.32384.

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The subject of this research is the historical-typological peculiarities of reflection in the Soviet cinematography of 1930s – mid 1980s of internal migrations, primarily from the rural areas, as well as determination in the historical dynamics of their value motivations, factors, means, and gender peculiarities. The object this research is the Soviet everyday life as a holistic lifeworld since the early 1930s to the early 1980s, which includes the three eras of spiritual life of the Soviet society: totalitarianism, “thaw”, and the “70s”. The subject of research is viewed in correlation of the ideological and everyday levels of life in their historical dynamics. The article employs the historical typology of culture, content analysis, comparative and hermeneutic methods. The theoretical substantiation of this study consists in the conceptual positions on the artistic methods of the cognition of culture. The conclusion is made that the images of migration in cinematography of the totalitarian period by factors, motives and means are inaccurate. However, from the perspective of systemic-holistic approach, the “typical” artistic images, which inaccurately reflected the internal migrations, expressed the profound essence of Soviet culture of the totalitarian period: concealment of truth and romanticization of reality. In the more realistic depictions of the cinematography of “thaw” period was reflected the “truth of life” and aesthetization of reality, naturalistic style, and social optimism. The formal and “enlightening” depictions of the “70s” translated the in-depth essence of this period: escalation of all-round crisis. Cinematographic works that in one or another way touched upon the theme of internal migrations, namely in the 1950s and 1980s, reflected the binary nature of the Russian-Soviet culture and mentality.
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Usuvaliev, Sultan I. "The Issue of Unity of Style in Soviet Cinema in the Late 1920s — Early 1930s (By the Example of Nikolay Iezuitov’s Works)." Observatory of Culture 17, no. 1 (February 27, 2020): 26–35. http://dx.doi.org/10.25281/2072-3156-2020-17-1-26-35.

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This article discusses the formation of style in Soviet film studies of the late 1920s — early 1930s in the aspect of discussions on art movements and trends in Soviet cinema. Although there are some theoretical and historical film studies on the formation of style trends of that period, much less attention has been paid to the historiography of this matter. Because of the small number of comprehensive historiographic research on this topic, the author decides to study the process of forming classifications of those movements. This article uses traditional research methods, introduces new archival sources into scientific circulation for the first time; and its main tasks are the historiographic study of the subject and the analysis of its key concepts and provisions. The article examines the unity of style in Soviet film studies of the 1920s — early 1930s on the example of works by Nikolay Mikhailovich Iezuitov (1899—1941), one of the founders of Russian film studies, who proposed in 1933 a concept of Soviet cinema development, the main category of which was style. Linking the concepts of “style” and “art movement (trend)”, Iezuitov identified two styles: the one of socialist concepts and the other of socialist feelings. In this, Iezuitov followed the logic of the book “Art Movements in Soviet Cine­ma” (1930) by Adrian Piotrovsky (1898—1937) — the author of the “intellectual” and “emotional” film classification. Iezuitov’s concept was criticized, especially at the jubilee session of the Scientific and Research Sector of the State Institute of Cinematography (now VGIK) in 1934. In the same year, the first history of Soviet cinema “The Ways of Feature Film” was published. It regarded the movements and their contribution to the development of Soviet cinematography according to the criteria of innovation and realism. Socialist realism was declared a platform, a common style that included all the various trends and styles of Soviet cinema. Iezuitov, who died in the war in 1941, did not get a chance to complete his fundamental study “The History of Soviet Film Art”. The story of the victory of socialist rea­lism was declared one of the main tasks of the textbook, and the process of formation of socialist rea­lism became the content of the science of film history. The article shows that socialist realism, as a unity of diversities and contradictions, allowed Iezuitov, on the one hand, to adhere to its normative aesthetics and, on the other hand, to conduct a stylistic analysis of schools and specific movies within this aesthetics.
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Eswaran Pillai, Swarnavel. "Cinematography and the poetics of 1950s Tamil cinema: Maruthi Rao and visual style." Screen 58, no. 1 (2017): 73–81. http://dx.doi.org/10.1093/screen/hjx009.

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Bordeniuk, Serhii, Iryna Gavran, and Valeriia Hrymalska. "Features of Street Photography and Its Similarities with Cinematography." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 2 (December 24, 2021): 278–85. http://dx.doi.org/10.31866/2617-2674.4.2.2021.248772.

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The purpose of the study is to analyze the visual features of street cinema photography and techniques for its implementation; establish the role of light, colour, composition and historical features of the street genre of photography; to prove the importance of conscious departure from the established laws of photocomposition for the implementation of creative ideas. The research methodology consists in the application of the following methods: theoretical – for the study and analysis of scientific publications, articles and photo albums of street photography masters; empirical – to observe and compare visual elements between cinema and photography. Scientific novelty. The detailed analysis of the main compositional methods designed to simplify the composition and analysis of the main components of a spectacular visual image that enhance the visual impact of cinematic photography on the viewer were conducted. Conclusions. The article describes in detail the visual features of creating cinematic street photography. The elements of street photography, the affinity of style with cinematography are generalized, the components for creating a strong visual effect on the audience are identified.
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Dissertations / Theses on the topic "Cinematography style"

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Williams, Tomas Rhys. "Tricks of the light : a study of the cinematographic style of the émigré cinematographer Eugen Schüfftan." Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3598.

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The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961). During the course of this thesis I shall examine the evolution of Schüfftan’s style, and demonstrate how Schüfftan has come to be misunderstood as a cinematographer of German Expressionism. The truth, as I will show, is far more complex. Schüfftan also struggled throughout his career to cope with the consequences of exile. In this thesis I will also therefore examine the conditions of exile for an émigré cinematographer, and in particular Schüfftan’s prevention from joining the American Society of Cinematographers. I intend to demonstrate how an understanding of cinematographic style can shed new light on a film, and to give renewed attention to an important cinematographer who has been largely ignored by film history.
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Kerimoglu, Kagan. "Vittorio Storaro: How to maintain artistic style in digital cinematography." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392819.

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Somazzi, Giacomo. "The Cinematography of Luca Bigazzi: An Analysis of his Camera work and Lighting style." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-392830.

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Diplomová práce ze zabývá tvorbou Lucy Bigazziho, jednoho z nejdůležitějších současných italských kameramanů. Analýza jeho filmů ukazuje, jakým způsobem svými úvahami o kinematografii a jedinečným vizuálním stylem ovlivnil spolupracovníky, i italský film v posledních 30 letech.
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Rosenblatt, Jacob A. "Cinematic Style: The Effects of Technology." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1277815461.

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Bae, Sang-Joon. "Rainer Werner Fassbinder und seine filmästhetische Stilisierung." Remscheid : Gardez! Verlag, 2005. http://books.google.com/books?id=4eZkAAAAMAAJ.

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Strausz, Laszlo. "Traveling through Space: Stylistic Progression and Camera Movement." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04202007-122230/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Greg M. Smith, committee chair; Charlie Keil, Ted Friedman, Kathy Fuller-Seeley, Angelo Restivo, committee members. Electronic text (310 p. : ill. (some col.)) : digital, PDF file. Description based on contents viewed Oct. 17, 2007. Includes bibliographical references (p. 276-283).
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Cormack, Michael James. "Ideology and cinematographic style in Hollywood films of the Thirties." Thesis, University of Stirling, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.236026.

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Trinh, Ellen Man Ngoc. "Cine-animé: adaptations of realistic lighting styles." Texas A&M University, 2005. http://hdl.handle.net/1969.1/2644.

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Animé, a style of Japanese animation, has begun to evolve into more than a simple animation. The stories found in animé have reached a level of complexity similar to traditional cinema. However, lighting in animé, has been minimal. Using computers to create animé, rather than creating it traditionally by hand, has allowed greater opportunities to be creative with lighting. Color and computer-generated (CG) effects can be integrated with traditional line drawings to create beautiful images in animé. Since cinematic lighting exhibits some of the finest examples of lighting, this thesis will analyze lighting styles from three different cinematographers and adapt them to three anim??e style scenes in 3D. The scenes will be modeled, lit, and rendered using Alias/Wavefront MAYATM, and textured using Adobe PhotoshopTM. The result will be a visual CG piece that adapts the lighting style of certain distinctive cinematographers, while retaining the look of animé.
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Hamilton, Maia D. "The Joy of Storytelling: Incorporating Classic Art Styles with Visual Storytelling Techniques." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1566558927880888.

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Silva, Odair José Moreira da. "O suplício na espera dilatada: a construção do gênero suspense no cinema." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-07102011-144235/.

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O estudo dos gêneros do cinema aponta para várias direções sem, no entanto, especificar a importância que deve ser dada às estratégias discursivas que engendram a significação de determinado filme. Por muito tempo, a teoria semiótica de linha francesa serviu apenas para salientar um perfil da significação fílmica, originada do percurso gerativo de sentido, na medida em que trata especificamente do esquema narrativo. De certo modo, os estudos da semiótica francesa concernentes ao cinema são exíguos. Diante da diversidade cinematográfica, um recorte pode ser feito de uma totalidade específica. A partir daí, os gêneros remetem a certa identidade do fazer cinematográfico. Os gêneros, pensados como enunciados que comportam um conteúdo temático, um estilo e uma construção composicional, fundam a identidade fílmica. Porém essa norma bakhtiniana de arquitetura, inerente a diversos enunciados fílmicos, parece ser pouco mencionada. Dessa forma, ignorar esse princípio básico é afastar um entendimento do processo de significação que, quando percebido e analisado, traz à tona o modo como o enunciador de um filme se utiliza de alguns recursos que revelam um modo próprio de manipular o espectador, o enunciatário ideal. O presente trabalho visa expor como um gênero fílmico particular, o suspense, surgido em um período histórico da sétima arte, conhecido como cinema clássico, pode ser desvendado, tomando como base a regra bakhtiniana referida. Com esse princípio em mente, a pesquisa adentra na teoria da significação e faz emergir várias possibilidades de exame ao texto fílmico. Sob tal orientação, este trabalho apresenta algumas ferramentas semióticas de análise do cinema, tais como a segmentação dos filmes e o levantamento das estruturas elementares e tensivas do gênero suspense. Seguindo esse horizonte, nossas investigações tendem a revelar uma gradação de intensidade constituinte da formação desse gênero. Além disso, como um dos recursos de uma identidade audiovisual, o exame das relações semissimbólicas aponta para um fator determinante na constituição das imagens fílmicas, entendido como as categorias paramétricas da imagem e seus contrastes. Relativamente a isso, será ressaltado o conteúdo temático e o modo como a configuração discursiva atua no desenvolvimento desse quesito. Com relação ao estilo, duas direções foram apontadas como constituintes do gênero suspense, o estilo do gênero e o estilo do autor. Tomando esses princípios como diretrizes, o corpus deste trabalho constitui-se de três filmes, representantes do cinema clássico, envoltos pela programação do suspense, o que dá a eles certo estatuto de referência: Cidadão Kane, de Orson Welles; Anatomia de um crime, de Otto Preminger; e Psicose, de Alfred Hitchcock.
Studies about movie genres point out to several directions, without specifying, however, the importance that should be given to discursive strategies that engender the significance of a particular movie. For a long time, French semiotic theory was suitable only to highlight a profile of filmic significance, which originated from the generative process in meaning, once it deals specifically with narrative scheme. However, French semiotic studies about movies are scarce. Due to the cinematographic diversity, a cut can be made of the specific totality. From that, genres refer to a certain identity of filmmaking. Genres, considered as enunciates that hold a thematic content, style and compositional construction, found the filmic identity. Nevertheless, this Bakhtinian architectural norm, inherent in many filmic enunciates seems to be little mentioned. Therefore, ignoring this basic principle means to establish a distance from a comprehension of the signification process that once noticed and analyzed brings light to the way the movie enunciator uses some resources that reveal a particular way of manipulating the spectators, the ideal enunciatee. The present work aims to expose how a particular movie genre, the suspense, originated in a historical period of the seventh art, known as classic movie era, can be unveiled, taking as basis the refered Bakhtinian norm. With this principle in mind this research penetrates the significance theory and brings to life many possibilities of examining filmic text. Following such orientation, this paper presents some analytical semiotic movie tools such as: movie segmentation and gathering of elementary and tensive structures in the suspense genre. Following this horizon, our investigations tend to reveal a gradation of intensity inherent in the formation of this genre. Furthermore, as one of the resources of an audiovisual identity, analysis of semi-simbolics relations points out to a determinant factor in the constitution of filmic images, known as parametrics categories of image and its contrasts. Regarding this, thematic content and the role that discoursive configuration plays in this issue, will be highlighted in this paper. Concerning style, two directions have been identified as constituents of the suspense genre, the style of the genre and the style of the author. Thus, having these principles as guidelines, the corpus of this paper consists of three movies, representatives of the classic movie era, that are involved by the programming of suspense, which gives them a certain status of reference: Citizen Kane by Orson Welles, Anatomy of a murder by Otto Preminger and Psycho by Alfred Hitchcock.
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Books on the topic "Cinematography style"

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Film style and technology: History and analysis. 2nd ed. London: Starword, 1992.

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Film style and technology: History and analysis. 3rd ed. London: Starword, 2009.

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Genre filmmaking: A visual guide to shots and style. New York: Focal Press, 2013.

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Carl, Plumer, ed. Creating Hollywood style movies with Adobe Premiere elements 7. Berkeley, Ca: Peachpit, 2009.

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Ekert, Paul. Creating Hollywood style movies with Adobe Premiere elements 7. Berkeley, Ca: Peachpit, 2009.

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Ekert, Paul. Creating Hollywood style movies with Adobe Premiere elements 7. Berkeley, Ca: Peachpit, 2009.

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Ekert, Paul. Creating Hollywood style movies with Adobe Premiere elements 7. Berkeley, Ca: Peachpit, 2009.

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Cavendish, Philip. The men with the movie camera: The poetics of visual style in Soviet avant-garde cinema of the 1920s. New York: Berghahn Books, 2013.

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Bae, Sang-Joon. Rainer Werner Fassbinder und seine filmästhetische Stilisierung. Remscheid: Gardez! Verlag, 2005.

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Salt, Barry. Film Style and Technology: History and Analysis. 2nd ed. Starword, 2003.

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Book chapters on the topic "Cinematography style"

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Cormack, Mike. "Ideology and Cinematographic Style." In Ideology and Cinematography in Hollywood, 1930–39, 9–26. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-11858-8_2.

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Cormack, Mike. "The Restrained Style, 1936–38." In Ideology and Cinematography in Hollywood, 1930–39, 108–22. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-11858-8_8.

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"Style and the Camera: Videography and Cinematography." In Television, 133–66. Routledge, 2001. http://dx.doi.org/10.4324/9781410604361-12.

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"Style and the Camera: Videography and Cinematography." In Television, 178–218. Routledge, 2006. http://dx.doi.org/10.4324/9781410614742-12.

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"6. Cinematography, Craft, and Collaboration in the Digital Age." In A Hidden History of Film Style, 163–78. University of California Press, 2019. http://dx.doi.org/10.1525/9780520959927-009.

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Conolly, Jez, and Emma Westwood. "SOUND | VISION: ‘Of course, the photography is not too professional… but I think it’s clear enough’." In Seconds, 89–100. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859289.003.0007.

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Discussion of the film’s visual style and its use of mirrors and mirroring as devices of disorientation, and a deeper examination of its cinematography, lens choices, editing style, set design and music.
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"Film Culture, Sound Culture: Setting, Cinematography, and Sound." In Cold War Cosmopolitanism: Period Style in 1950s Korean Cinema, 108–43. University of California Press, 2020. http://dx.doi.org/10.1525/luminos.85.f.

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Hughes, Emily. "Mise-en-scène and Cinematography." In Studying Talk to Her, 21–30. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733438.003.0004.

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This chapter examines Pedro Almodóvar's mise-en-scène and cinematography. Almodóvar's mise-en-scène is rich with intertextual references, whether it be from high culture, through the pastiche of other films, or through the mise-en-scène and the symbolism of props and costume. Heavily used visual motifs, such as 'the Matador', occur frequently in Talk to Her (2002), perhaps in homage and parody of the traditional Spanish iconography encouraged under the Franco regime. Similarly, Almodóvar is renowned for drawing upon and being influenced by Hollywood directors of the 1950s, such as Alfred Hitchcock and Douglas Sirk, and one can see influences from both of these directors in the film through the performances, bright colour palettes, and themes. Like the melodrama films of the 1950s and like the cinema of Hitchcock, Almodóvar's unique and distinctive style is classified by a somewhat obsessive attention to mise-en-scène. This is most noticeable in the domestic settings. Almodóvar pays close attention to objects, colour, painting, and production design, much of which has deeper symbolism and meaning.
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9

Uva, Christian. "Three Sequences." In Sergio Leone, translated by Fabio Battista, 101–20. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190942687.003.0003.

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Abstract:
This chapter focuses on Leone’s aesthetic and cinematic language. In order to highlight the continuity and evolution of the director’s eye, it deconstructs and analyzes three famous sequences from The Good, the Bad and the Ugly (1966), Duck, You Sucker! (1971), and Once Upon a Time in America (1984). The analysis of composition, mise-en-scène, and cinematography unveils the political and ethical symbolism of Leone’s cinema. It also references film theory (Sergei Eisenstein, among others) and critical contributions on Leone’s works tracing out the visual construction of his political perspective, and demonstrating the continuity and evolution of his unique style.
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10

Mee, Laura. "Kubrick and Horror." In The Shining, 17–34. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325444.003.0002.

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This chapter discusses Stanley Kubrick's relationship with the horror genre. The Shining (1980) is a clear example of Kubrick's status as ‘an artist of complex and popular work’—rather than being exclusively one or the other. Many approaches to understanding the film see it as a ‘serious’ work by a master filmmaker operating without commercial imperative, or elevated above a disreputable genre. This overlooks a number of important contextual considerations, not least the fact that Kubrick had been clear in asserting that he wanted to make a supernatural film and liked a number of horror films. Moreover, Kubrick, whose films ‘repeatedly mix the grotesque and the banal, the conventions of Gothic confessional morbidity and the self-conscious involutions of modernist parody’, was ideally placed to make a horror film. If The Shining is in many ways typical of the Kubrickian style, then it surely follows that the Kubrickian style was ideal for horror. His auteurist style—the use of black comedy, his artistic approach to mise-en-scène and cinematography, an interest in the uncanny—all lend themselves to the genre.
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