Dissertations / Theses on the topic 'Cinematography style'

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.

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.

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).

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.

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.

Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände. Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten. Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führen
Audiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors

Audiovisuelle Medien, insbesondere Filme und Fernsehsendungen entwickelten sich innerhalb der letzten einhundert Jahre zu bedeutenden Massenmedien. Große Bestände audiovisueller Medien werden heute in Datenbanken und Mediatheken verwaltet und professionellen Nutzern ebenso wie den privaten Konsumenten zur Verfügung gestellt. Eine besondere Herausforderung liegt in der Indexierung, Durchsuchung und Beschreibung der multimedialen Datenbestände. Die Segmentierung audiovisueller Medien, als Teilgebiet der Videoanalyse, bildet die Grundlage für verschiedene Anwendungen im Bereich Multimedia-Information-Retrieval, Content-Browsing und Video-Summarization. Insbesondere die Segmentierung in semantische Handlungsanschnitte bei narrativen Medien gestaltet sich schwierig. Sie setzt ein besonderes Verständnis der filmischen Stilelemente vorraus, die im Rahmen des Schaffensprozesses genutzt wurden, um die Handlung und Narration zu unterstützten. Die Arbeit untersucht die bekannten filmischen Stilelemente und wie sie sich im Rahmen algorithmischer Verfahren für die Analyse nutzen lassen. Es kann gezeigt werden, dass unter Verwendung eines mehrstufigen Analyse-Prozesses semantische Zusammenhänge in narrativen audiovisuellen Medien gefunden werden können, die zu einer geeigneten Sequenz-Segmentierung führen.
Audiovisual media, especially movies and TV shows, developed within the last hundred years into major mass media. Today, large stocks of audiovisual media are managed in databases and media libraries. The content is provided to professional users as well as private consumers. A particular challenge lies in the indexing, searching and description of multimedia assets. The segmentation of audiovisual media as a branch of video analysis forms the basis for various applications in multimedia information retrieval, content browsing and video summarization. In particular, the segmentation into semantic meaningful scenes or sequences is difficult. It requires a special understanding of cinematic style elements that were used to support the narration during the creative process of film production. This work examines the cinematic style elements and how they can be used in the context of algorithmic methods for analysis. For this purpose, an analysis framework was developed as well as a method for sequence-segmentation of films and videos. It can be shown that semantic relationships can be found in narrative audiovisual media, which lead to an appropriate sequence segmentation, by using a multi-stage analysis process, based on visual MPEG-7 descriptors.

碩士
國立雲林科技大學
視覺傳達設計系碩士班
99
TV media is an important communication platform as TV advertisement draws audience’s attention easily and furthermore influences audience’s attitude toward the brand and commodity. This study aims at exploring the impact of “cinematography style” upon audience’s emotion. Firstly, the researcher uses documentary analysis, in-depth interviews, and protocol analysis as the main research methods to study how the experts define and use the cinematography style to integrate a “sheet of cinematography style.” Secondly, the research conducts in-depth interview through the open-ended questionnaires to study the type of “cinematography style” and its application. Thirdly, the researcher uses the sample research and protocol analysis methods. The researcher dismantles the testing samples choose from the best advertisement videos from the 24th to 33th Times Asia-Pacific Advertising Awards, and conducts the “think aloud method” upon the subjects to collect the data of their perception of these samples and use the “protocol analysis” to study the impact of cinematography style upon audience’s emotion. Fourthly, the researcher uses “focus group interview” to analyze the “emotion vocabulary (Kansei)” gathered from those subjects and uses “KJ method” to organize the data. Fifthly, the decoder who has the knowledge of “cinematography style” analyzes the relation between the “emotion vocabulary (Kansei)” and “cinematography style” and how the “cinematography style” influences “emotion vocabulary (Kansei.)” The summaries are as follow: (1)The six elements of cinematography style are composition, framing, camera movements, shot angles, depth of field, and lens. (2)There are 5 compositions, 6 framings, 4 shot angles, 8 camera movements, 3 lens, and 3 depth of fields. (3)The priority list of cinematography style for experts are, in this order: composition>framing>camera movements> shot angles>depth of field> lens The priority list of cinematography style for audiences are, in this order: camera movements>framing>composition>depth of field>shot angle>lens (4)The emotion vocabulary (kansei) includes 3 categories, 7 element, and 12 groups.

A dissertation submitted to the Faculty of Humanities in fulfilment of the degree of Master of Arts by creative research in Film and Television, University of the Witwatersrand, 2016
In this dissertation I examine the roles of the cinematographer in fiction feature film production. I begin the discussion with a historical review of the emergence of cinematography as a specialised field in early cinema. This corresponds with developments in camera technology that enabled accurate framing, lighting and the possibility of movement. In order to provide a framework for further discussion, the first chapter proceeds with a review of formal definitions and less conventional definitions of the role of the cinematographer. The focus in these discussions is on the cinematographer’s engagement with the design, development and application of a unique ‘visual style’ in the articulation of the director’s vision for the film. A large component of this research pertains to the work of the cinematographer in South African feature film productions. The second chapter presents an analysis of two very different South African feature films Oil On Water (Matthews, 2007) and SMS Sugar Man (Kaganof, 2008). I was the cinematographer on both productions and the discussion engages a reflexive mode of analysis. The third and final chapter is an analysis of the accompanying film Impunity (Mistry, 2014), which forms the creative component of this research. I conclude with establishing that the creative engagement of the cinematographer in the design of a coherent visual style contributes to a nuanced and engaging cinematic experience and richer visual vocabulary.
MT2017

In the late 1990s, motion picture and television production began a process of rapid digitalization with profound implications for cinematographers in Hollywood, as new tools for “digital cinematography” became part of the traditional production process. This transition came in three waves, starting with a post-production technique, the digital intermediate, then the use of high-definition video and digital production cameras, and finally digital exhibition. This dissertation shows how cinematographers responded to the technical and aesthetic challenges presented by digital production tools as they replaced elements of the film-based, photochemical workflow. Using trade publications, mainstream press sources, and in-depth interviews with cinematographers and filmmakers, I chronicle this transition between 1998 and 2005, analyzing how cinematographers’ responded to and utilized these new digital technologies. I analyze demonstration texts, promotional videos, and feature films, including Pleasantville, O Brother Where Art Thou, Star Wars: Attack of the Clones, The Anniversary Party, Personal Velocity, and Collateral, all of which played a role in establishing a discourse and practice of digital cinematography among cinematographers, producers and directors. The challenges presented by new collaborators such as the colorist and digital imaging technician are also examined. I discuss cinematographers’ work with standards-setting groups such as the Society of Motion Picture and Television Engineers, Academy of Motion Picture Arts and Sciences, and the studio consortium Digital Cinema Initiatives, describing it as an effort to protect “film-look” and establish look-management as a prominent feature of their craft practice. In an era when digitalization has made motion pictures more malleable and mobile than ever before, this study shows how cinematographers attempted to preserve their historical, craft-based sense of masterful cinematography and a structure of authority that privileges the cinematographer as “guardian of the image."
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