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Books on the topic 'Cinematography style'

Author: Grafiati

Published: 24 April 2022

Last updated: 27 April 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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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9

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

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10

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

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11

Hidden History of Film Style. University of California Press, 2015.

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12

Patmore, Chris, Hayden Scott Baron, and Chi Hang Li. Making Anime : Create mesmerising manga-style animation with pencils, paint and Pixels: Create mesmerising manga-style animation with pencils, paint and Pixels. Taylor & Francis Group, 2006.

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13

Bendazzi, Giannalberto. Animation : a World History : Volume II: The Birth of a Style - the Three Markets. Taylor & Francis Group, 2016.

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14

Beach, Christopher. Hidden History of Film Style. University of California Press, 2015.

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15

Hidden History of Film Style: Cinematographers, Directors, and the Collaborative Process. University of California Press, 2015.

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16

Beach, Christopher. Hidden History of Film Style: Cinematographers, Directors, and the Collaborative Process. University of California Press, 2015.

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17

Complete Guide to Anime Techniques: Create Mesmerizing Manga-style Animation with Pencils, Paint, and Pixels. Barron's Educational Series, 2006.

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18

Berliner, Todd. Raging Bull’s Stylistic Dissonance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0006.

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Illustrating some of the points made in chapter 5, chapter 6 offers an extended analysis of some complex tendencies in Raging Bull’s cinematography, editing, and sound devices. The film tests the limits of the classical Hollywood style and sometimes crosses over into avant-garde practice. Raging Bull offers an illustrative case study of the boundaries of Hollywood’s stylistic systems.

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19

Miyao, Daisuke. Ozu and the Aesthetics of Shadow. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0008.

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If the cohesive image of Ozu Yasujiro in auteur criticism by far is the director who consistently uses high-key lighting, this chapter questions and complicates it by examining the technologies and techniques of cinematography and lighting employed in There Was a Father (Chichi ariki, 1942). The chapter aims to underscore the internal challenge that Ozu’s films issued to the dominant mode of filmmaking at Shochiku, the company that maintained the kabuki-style lighting at least during the black-and-white period of filmmaking in Japan, especially when the so-called aesthetics of shadow (kage no bigaku) was emerging as the dominant discourse in film criticism and practice.

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20

Villa, Sara. Improvisatory Practices and the Dawn of the New American Cinema. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.30.

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In 1960, cinema critic Jonas Mekas welcomed the advent of the New American Cinema, praising the wave of independent movies produced in late 1950s for their casual and fragmentary nature. The key feature of these productions, which was particularly remarkable in the case of two major features—Shadowsby John Cassavetes andPull My Daisyby Alfred Leslie and Robert Frank—was an anti-Hollywood style that relied on improvisatory practices affecting all structural levels: from the acting to the montage, from the photography to the soundtrack. The style of this “spontaneous cinema” was a pastiche of multiple improvisatory practices, borrowed from bebop, beat poetry, and Stanislavsky’s acting techniques, which defied traditional cinematographic narratives. A close analysis ofShadowsandPull My Daisyreveals the multiple forms of improvisation that shaped these movies’ “spontaneous poetics” and the ways in which they both managed to bring improvisation into film art.

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21

Smith, Jeff. The Sound of Intensified Continuity. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.035.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter examines the role of the soundtrack in the “intensified continuity” style of contemporary Hollywood cinema. Drawing on David Bordwell’s work, it argues that contemporary sound design contributes much to the style’s “impact aesthetic.” Since 1970 soundtracks have increasingly foregrounded six dimensions that function as an aural counterpart to the cinematographic and editing strategies highlighted by Bordwell. The chapter concludes with a comparative study of the 1974 caper classic,The Taking of Pelham 123, and its 2009 remake. The emergence of an “intensified continuity” approach to the soundtrack is illustrated by three aspects of the 2009 remake: (1) the use of nondiegetic sound effects; (2) the use of surround channels to sharpen the differences in the aural environments in the film; and (3) the role of low-frequency effects channels, directional sounds, and expanded dynamic range to enhance the sensory impact of the film’s train sounds.

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22

Dinello, Dan. Children of Men. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781999334024.001.0001.

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A mirror of tomorrow, Alfonso Cuarón's visionary Children of Men (2006) was released to good reviews and a poor box office but is now regarded by many as a twenty-first-century masterpiece. Its propulsive story dramatizes a dystopian future when an infertile humanity hurtles toward extinction and an African refugee holds the key to its survival. Cuarón creates a documentary of the near future when Britain's totalitarian government hunts down and cages refugees like animals as the world descends into violent chaos. In the midst of xenophobia and power abuses that have led to a permanent state of emergency, Children of Men inspires with a story of hope and political resistance. This book explicates Children of Men's politically progressive significance in the context of today's rise of authoritarianism and white nationalism. Though topical at the time, the film now feels as if it's been torn from today's headlines. Examining the film from ideological, psychological, and philosophical perspectives, the book explores the film's connection to post-9/11 apocalyptic narratives, its evolutionary twist to the nativity story, its warning about the rise of neofascism, and its visual uniqueness as science-fiction, delving into the film's gritty hyper-realistic style and the innovative filmic techniques developed by director Cuarón and his cinematographer, Emmanuel Lubezki. The book explores the film's criticism of the pathologies of a reactionary politics that normalize discriminatory hierarchies and perpetuate vast differences in privilege. Children of Men prods us to imagine an egalitarian alternative with a narrative that urges emotional identification with rebels, outcasts, and racial and ethnic outsiders.

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