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Journal articles on the topic 'Cinematography'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Tedjorahardjo, Christa Azalia. "Picturing the Boundary Between Good and Bad: The Lighting, Framing, and Camera Movement of “Kidnap”." K@ta Kita 5, no. 2 (2018): 9–17. http://dx.doi.org/10.9744/katakita.5.2.9-17.

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This creative work is a cinematography report from the screenplay “Kidnap” by Indah Sari Y. The story tells about a criminal who is given a mission to kidnap the daughter of a deceased wealthy CEO, however the Man realized that he mistakenly kidnapped the wrong person. He is caught in the dilemma whether or not to let her go, yet his situation only gets worse when he is given the order to kill her. The cinematography of this film aims to convey the story and message that the director envisioned. Moreover, it aims to portray characterization through various elements of cinematography such as fr

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Baiturina, Diana Uralovna. "Bashkir cinematography as a phenomenon of national Culture." Философия и культура, no. 1 (January 2022): 11–25. http://dx.doi.org/10.7256/2454-0757.2022.1.37269.

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This article examines the milestones in the development of cinematography as a phenomenon in Bashkortostan. The author traces the path from the emergence of very first films to the present state of local film production in the republic. Research methodology leans on the methods of systematization and analysis of scientific literature, written and cinematographic sources, historical-typological (analysis of the historical and cultural grounds of Bashkir cinematography), interpretation of written and cinematographic material. The peculiarities of the establishment and development of Bashkir cine

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

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The author presents the cinematographer and director Jolanta Dylewska, striving to define her cinematographic style. Although Dylewska began working independently as a cinematographer only after the turn of 1989, her position in the history of Polish and European cinema can be determined through awareness of her female pioneership in this profession, set against the background of generations of graduates of the Cinematography Department at the Lodz Film School. The researcher focuses on films that are the result of Dylewska’s collaboration with transnational directors, Agnieszka Holland (In th

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Tokoeva, Gulabovo Toktosunovna. "Key aspects of interrelation between Kyrgyz cinematography and music." Культура и искусство, no. 1 (January 2020): 8–16. http://dx.doi.org/10.7256/2454-0625.2020.1.31956.

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In cinematic art, along with science, the ongoing processes at the intersection of several fields and spheres acquire greater significance. Cinematography synthesizes the expressive means of various arts. The subject of this research is the analysis of the key points of interrelation and mutual influence of Kyrgyz cinematography and music. The main goal lies in examination of the fundamental problems of synthesis of Kyrgyz cinematography and music by the means of historical-culturological artistic analysis of the national narrative films with detailed consideration of musical peculiarities. Th

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

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

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Silveira, Vanilson Pereira, and Maria Luiza Cardinale Baptista. "Tourism and Cinema: Cinematographic Production and Tourist Attractivity In Garibaldi-RS, Brazil." Revista Rosa dos Ventos - Turismo e Hospitalidade 12, no. 4 (2020): 982–96. http://dx.doi.org/10.18226/21789061.v12i4p982.

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This paper aims to discuss the relationship between cinema and tourism, taking as its analysis the municipality of Garibaldi, located in Rio Grande do Sul, Brazil. Theoretically, it’s a transdisciplinary approach Tourism – Communication with a literature review to approach the theme and to identify locations contained in audiovisual productions. It’s possible to point movies as a resource to promote and disseminate tourist destinations. The cinematographic productions that take place in Garibaldi represent a differential strategy to reaffirm the region's vocation to tourism and cinematography.

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KALANOV, Asliddin. "CINEMATOGRAPHY AND ARTIST." Art and Design: Social Science 02, no. 01 (2022): 1–3. http://dx.doi.org/10.37547/ssa-v2-i1-1.

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The article discusses the work of Khudoibergan Devonov (1879-1940), the founder of Uzbek cinema, the first Uzbek photographer and cinematographer. The report also discusses Varsham Yeremyan, a pre-production artist at the "Sharq Yulduz" studio, and later artists working at the "Uzbekfilm" studio. E. Kalontarov, who has been involved in the production of several films as a leading artist at the Uzbekfilm studio since 1959, later contributed to the development of Uzbek cinematography in collaboration with B. Nazarov, K. Nuriddinov and later directors.

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Jepri, Muhammad, Mahdalena Risnawaty, and Ahmad Riza. "PERENCANAAN PUSAT SINEMATOGRAFI DI TENGGARONG DENGAN PENDEKATAN ARSITEKTUR METAFORA." Jurnal Totem : Architecture, Environment, Region and Local Wisdom 4, no. 1 (2023): 1. http://dx.doi.org/10.31293/ttm.v4i1.6451.

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Along with the development of the world of cinematography among young people in Tenggarong, where their activities include making films, short films, film screenings, and film competitions. However, there are no facilities or gathering places for them, so it is necessary to create a place or place that can provide facilities for the cinematographic community. The purpose of this research is to plan a Cinematography Center with a metaphorical architectural concept in the form of a building taken from the formation of a film camera, and to provide a forum for the activities of the cinematography

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Lotman, Elen. "Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters." Baltic Screen Media Review 4, no. 1 (2016): 88–105. http://dx.doi.org/10.1515/bsmr-2017-0005.

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Abstract In the history of cinematography there is a noticeable tradition to deliberately highlight the elements that accentuate space and spatiality in the shots. At the same time, there is also a contrary tradition, i.e. the conscious reduction of spatiality with the help of artistic tools in order to evoke a feeling of alienation. In this article I will argue that it is highly likely that the visual reinforcement of depth has become one of a cinematographer’s most frequently used tools, because it plays an important role in the audience’s perceived empathy towards onscreen characters. Since

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Zhuravleva, O. V., and A. S. Lobacheva. "Main marketing trends in the Russian cinema market in the current realities." Vestnik Universiteta, no. 9 (October 31, 2022): 90–95. http://dx.doi.org/10.26425/1816-4277-2022-9-90-95.

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The article examines current marketing trends in Russian cinema and film industry, which have emerged in the 21st century in Russian cinema and international federation of film societies. The aim of the study is to define the directions of marketing strategies for enlarging the target audience and extracting the maximum possible profit from cinematographic business. Based on key works on marketing and their own observations, the authors investigated the concept and essence of marketing, its content and specifics. Various ways of increasing the audience of cinemas and customer loyalty programme

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Dominte, Carmen. "Light and shadow as instruments of literary and visual metaphor in Liviu Rebreanu’s The Forest of the Hanged." Swedish Journal of Romanian Studies 3, no. 1 (2020): 116–29. http://dx.doi.org/10.35824/sjrs.v3i1.21424.

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Starting from their basic role as elements of literary, cinematographic and theatrical description, light and shadow develop a close relation in all these three arts. They exceed their primary purpose and become involved in the process of narrating the events and setting the mise-en-scène. Even more, they are also engaged in changing the atmosphere, visualizing the images, modifying the reader’s or viewer’s attention, increasing or diminishing the dramatic intensity, conferring dynamic effect, accumulating meaning and revealing symbolic, philosophical, psychological and metaphysical significan

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Mukhortikova, Elena A. "Aesthetics of Cinematography in Visualization of Music Videos." Observatory of Culture 21, no. 3 (2024): 258–65. http://dx.doi.org/10.25281/2072-3156-2024-21-3-258-265.

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The relevance of the topic is to analyze the formation of the musical content of clips created with the involvement of the plots of cinematographic works in their text, and the impact of the clip on the perception of the viewer; to study the development of visual means attracted to the textual factors of the clip. The purpose of the present research is to study the influence of the plot intent of the scenic features of a cinematographic work on the visual and musical series of the clip, related to the associative perception of the viewer. Novelty — for the first time the influence of aesthetic

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Mishchenko, Igor' Evgenyevich. "Representation of the images of army and military man in the U.S. mass cinematography of the 2010s." Философская мысль, no. 12 (December 2020): 61–75. http://dx.doi.org/10.25136/2409-8728.2020.12.34522.

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The author explores the problematic of the images of army and military in mass cinematography on the example of U.S. film industry of the second decade of the XXI century. The object of this research is the sociocultural representation of army and war via expressive means of cinematographic art. Within the Russian science, this problematic is poorly studied; at the same time, its relevance cannot be overestimated, since cinematography is an important component in formation of &ldquo;soft power&rdquo; of the country. According to the testimony of numerous Russian experts, namely cinemat

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SURASA, SURASA, SUDARMAN SUDARMAN, SUPARNA SUPARNA, and MUHAMMAD IQBAR FATIRDZUL HAJ. "PENERAPAN SINEMATOGRAFI PADA FILM ANIMASI 3D BERJUDUL TAMIYA." KNOWLEDGE: Jurnal Inovasi Hasil Penelitian dan Pengembangan 2, no. 3 (2022): 261–69. http://dx.doi.org/10.51878/knowledge.v2i3.1673.

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3D animation is often relied on for entertainment media purposes ranging from movies, video games, and advertising. However, in making 3D animated films, it is certainly not much different from filmmaking in general, especially in shooting techniques or cinematography techniques. The application of good cinematography techniques in a 3-dimensional animated film will be able to improve the quality in terms of graphics and storytelling. choosing a random point of view can make the audience confused, so that the selection of a clear point of view can make a film bring out its best potential and m

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Reghita, Lavena. "Perilaku Penemuan Informasi pada Mahasiswa UKM Sinematografi Universitas Airlangga." Palimpsest: Jurnal Ilmu Informasi dan Perpustakaan 11, no. 1 (2020): 46. http://dx.doi.org/10.20473/pjil.v11i1.21889.

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Abstract Information seeking behavior among students of Cinematography to produce film work, is motivated by a gap that can lead to information needs based on the interests of students of Cinematography. Information needs of students Cinematography UKM is based on information needs based on environmental factors, namely information relating to the storyline. In addition, most students of Cinematography UKM produce films with the theme of one's experience. To meet these needs, students of UKM Cinematography have obstacles in the process of finding information, this proves that students of UKM C

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Gleicher, Michael L., and Feng Liu. "Re-cinematography." ACM Transactions on Multimedia Computing, Communications, and Applications 5, no. 1 (2008): 1–28. http://dx.doi.org/10.1145/1404880.1404882.

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Maddock, Daniel. "Reframing cinematography." Media Practice and Education 20, no. 1 (2018): 44–66. http://dx.doi.org/10.1080/25741136.2018.1464735.

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Betekeneng, Malvin Hernanta. "Meal for Two: Creating Mood and Characterization Through Cinematography." K@ta Kita 7, no. 2 (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

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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (2018): 196–202. http://dx.doi.org/10.36456/b.nusantara.vol2.no1.a1712.

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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre,

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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (2018): 196–202. http://dx.doi.org/10.36456/jbn.vol2.no1.1712.

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Indonesian films experience development over time. In the beginning film in Indonesia served as a massmobilizer and propaganda, then suspended animation. Now Indonesian films are taken into account to internationalfestivals, especially the horror film genre. The object to be analyzed in this study is a horror film, entitled 'PengabdiSetan' by director Rudi Sudjarwo produced in 2017 which is also nominated for the Indonesian Film Festival. Researchthrough the analysis of historical studies with comparative research methods, literature study of two films that have beenadapted to the same genre,

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Martínez Parra, Marc. "Geology in the setting and landscape of the cinematographic work." BOLETÍN GEOLÓGICO Y MINERO 134, no. 1 (2023): 87–124. http://dx.doi.org/10.21701/bolgeomin/134.1/005.

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Cinematography, as the seventh art, uses the unique geological landscape in the setting of its creations. Geology, like everything that is related to its essence, is perceived by the human being through all its senses, reflected in its translation to the cinematographic work in terms of the setting of different scenarios, natural or artificial, where the filmic action unfolds. The various lithologies and their natural weathering form picturesque places, used in cinematography to represent the narrated stories and convey sensations to the viewer. These landscapes and morphologies are associated

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Melnikova, A. L., and A. S. Mitsul. "Role of cinematography in anticorruption enlightenment: global experience." Russian Journal of Economics and Law 16, no. 1 (2022): 122–35. http://dx.doi.org/10.21202/2782-2923.2022.1.122-135.

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Objective: to conduct a comprehensive interdisciplinary legal study of the role of cinematography in anti-corruption enlightenment of citizens.Methods: a structural and functional approach to the interpretation of society as a connection of subsystems, in which cinematography is a part of the cultural subsystem, while anti-corruption policy refers simultaneously to the public subsystem (enlightenment) and the state subsystem (politics). The chosen approach determines a set of specific research methods, such as a critical analysis of theoretical literature on corruption behavior and on the rela

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Jacov, Marko. "Analisi critica dei film cristologici nelle pubblicazioni di Paola Dalla Torre del Tempio di Sanguinetto." Textus et Studia, no. 3/4(19/20) (July 16, 2021): 7–29. http://dx.doi.org/10.15633/tes.05301.

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This text is a critical analysis of Christological films in Paola Dalla Torre del Tempio di Sanguinetto publications. There are five basic thematic groups in the author’s work: (1) classical cinematography 1915–1968; (2) modernist cinematography “New Age” 1968–1977; (3) postmodern cinematography (from 1977); (4) ethics of life (bioethics) and cinematography; (5) Holy See’s means of information and cinematography.

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Megahayati, Kemala, Muhamad Amirulloh, and Helitha Novianty Muchtar. "Perlindungan Hukum Sinematografi Terhadap Pengaksesan Tanpa Hak Oleh Pengguna Aplikasi Telegram Berdasarkan Undang-Undang Hak Cipta Dan Undang-Undang Informasi Dan Transaksi Elektronik Di Indonesia." Ajudikasi : Jurnal Ilmu Hukum 5, no. 1 (2021): 1–16. http://dx.doi.org/10.30656/ajudikasi.v5i1.3218.

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Film as a cinematographic work is an object protected by copyright. Film and ICT are rapidly growing in Indonesia. Along with this, digital piracy occurs very often. This happens in instant messaging application, Telegram. Public channel is an available feature on Telegram that misused by its users to spread films illegally. This research was conducted to determine regulations about accessing cinematography on Telegram and Telegram Messenger Inc. liability concerns accessing cinematography by its users. The method is juridical normative by examining secondary data from primary, secondary, and

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Kamil, Islamiah, Haidar Ghazy Arkan, and Donie Fadjar Kurniawan. "Stereotypical Representation Of Professional Behavior Of Accountants In Cinematographic Technology Based On The Code Of Ethics Of The Accounting Profession." Dinasti International Journal of Economics, Finance & Accounting 5, no. 5 (2024): 5213–24. https://doi.org/10.38035/dijefa.v5i5.3429.

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This study aims to analyze the stereotypical representation of accountant professional behavior in cinematographic technology and how the stereotypical representation of accountant professional behavior is in accordance with or contrary to the code of ethics of the accounting profession. In the media of cinematography, accountants are often depicted with certain stereotypes that can affect the public's perception of the accounting profession. This study uses a qualitative method with content analysis from various movies and television series featuring accountant characters. Data was collected

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Tkach, Olekasandr. "Genesis of legal protection of animated audiovisual works." Theory and Practice of Intellectual Property, no. 3 (September 18, 2024): 17–27. http://dx.doi.org/10.33731/32024.311407.

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The article is devoted to studying of the history of legal protection of animated audiovisual works in the course of development of technologies for production of such works. The author establishes that the creation of ‘live’ images, which was carried out to conduct scientific experiments in physics and mathematics, eventually became the starting point for the development of animation and cinematography. The history of animation is divided into six main periods. These periods naturally do not coincide with the stages of development of legal protection of objects created by animation and cinema

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Korobko, Roman V. "Framing as a method of creating a film's metaphorical context." Journal of Flm Arts and Film Studies 11, no. 2 (2019): 79–86. http://dx.doi.org/10.17816/vgik11279-86.

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This essay continues the study of the semiotics and synergetics of Framing in the Art of Cinematography which substantiates the hypothesis that framing (perspective) constitutes one of the most important codes of screen communication in its cinematographic and metaphorical contexts. Thus, framing is represented by two hierarchical levels of representation of contextual semiotic connections: the connection between mise-en-cadre and mise-en-scne (the level of the cinematographic form of film sign); and the relationship between cinematographic imagery, action and meaning (the level of the cinema

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Khrenov, Denys. "The Role of Sound Engineering in the Formation and Development of Ukrainian Cinematographic and Television Art." Bulletin of KNUKiM. Series in Arts, no. 39 (December 10, 2018): 85–93. https://doi.org/10.31866/2410-1176.39.2018.153664.

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The purpose of the article is to analyze the influence of sound engineering on the formation and development of cinematographic and television art in Ukraine; to identify the main stages of the development of sound engineering. The research methodology consisted in the organic set of basic principles of research, as well as the following methods of scientific knowledge: problem-chronological, concrete-historical, statistical, descriptive, and logical-analytical. The scientific novelty of the work lies in the first attempt to provide detailed analysis of the basic principles

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Nadya, Lebyedyeva. "UKRAINIAN CINEMATOGRAPHY IN THE CONTEXT OF STATE GOVERNANCE HISTORICAL DEVELOPMENT." Journal of Social, Humanity, and Education 2, no. 4 (2022): 343–55. http://dx.doi.org/10.35912/jshe.v2i4.1081.

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Abstract: Purpose: The main aim of the article is to cover the existing features of public administration of cinematography in historical dynamics and to reveal the presence of positive development. Research Methodology: The study used a general logical method of analyzing scientific sources of modern Ukrainian historians to assess the phenomena that have influenced the state of cinematography. The system of development of cinematography during the Soviet Union was taken into attention. Its influence on Ukrainian cinematography was analyzed. The regulatory documents on state support for cinema

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Nugraeni, Elara Karla, and Ghalif Putra Sadewa. "CINEMATOGRAPHY ANALYSIS OF THE ROMANTIC SCENE OF THE KOREAN DRAMA SERIAL EXTRAORDINARY ATTORNEY WOO." Acintya : Jurnal Penelitian Seni Budaya 16, no. 2 (2025): 205–21. https://doi.org/10.33153/acy.v16i2.6598.

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Korean serial drama Extraordinary Attorney Woo achieved high popularity following its release on Netflix mid-year 2022. This drama does not only present relevant social issues but also offers captivating visual arrangements depicting emotions for the main character, who has asperger syndrome or autism. This study focuses on cinematographic patterns in romanticizing scenes to project thoughts and emotional expressions of the main character. From the total sixteen episodes, several scenes were selected through purposive sampling to demonstrate repetitive cinematic structures. Analysis was conduc

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PHILIPPOVICH, ANNA. "THE CONCEPT AND FEATURES OF A CINEMATOGRAPHIC WORK." LEGAL BULLETIN 3, no. 6 (2021): 71–77. https://doi.org/10.5281/zenodo.11184994.

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The relevance of this research is due to the recent changes in the world film industry, which allow us to take a new look at the legal nature of a cinematographic work. The purpose of the article is to comprehensively study of the legal essence of a cinematographic work as a special result of creative activity, taking into account its specifics in the light of the new realities of the modern film industry. The author considers the features of a cinematographic work, and also evaluates the criteria for distinguishing between a cinematographic work and works expressed by a process analogous to c

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Serrano Arias, Tanit Guadalupe. "Otherness in Cinematography." Glimpse 21 (2020): 119–23. http://dx.doi.org/10.5840/glimpse20202113.

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The dialogue in this paper is aimed at reflecting the form of representation of The Other within the cinematography from the philosophical point of view. For this, we support our study in Ethics as the first philosophy of Emmanuel Levinas. The questions that trouble this study are: What is otherness? Who is the other? Why is it necessary to think about otherness in cinematography?Here we reflect on the recognition of the Other, of the different individual, of the foreign. Cinema allows to recognize the existence of other subjects, from a double look, as spectators, but also as creators. What m

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Segal, E. "Literature and Cinematography." Poetics Today 32, no. 2 (2011): 398–99. http://dx.doi.org/10.1215/03335372-1261226.

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Neil, Iain A. "Lenses in Cinematography." Optics and Photonics News 15, no. 1 (2004): 26. http://dx.doi.org/10.1364/opn.15.1.000026.

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Paramonov, Andrei A. "Alexander Bogdanov’s Cinematography." Russian Studies in Philosophy 57, no. 6 (2019): 534–45. http://dx.doi.org/10.1080/10611967.2019.1670548.

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Keiller, Patrick. "Landscape and cinematography." cultural geographies 16, no. 3 (2009): 409–14. http://dx.doi.org/10.1177/1474474009105056.

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Ronfard, Remi, and Gabriel Taubin. "Introducing 3D Cinematography." IEEE Computer Graphics and Applications 27, no. 3 (2007): 18–20. http://dx.doi.org/10.1109/mcg.2007.64.

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Mademlis, Ioannis, Nikos Nikolaidis, Anastasios Tefas, Ioannis Pitas, Tilman Wagner, and Alberto Messina. "Autonomous UAV Cinematography." ACM Computing Surveys 52, no. 5 (2019): 1–33. http://dx.doi.org/10.1145/3347713.

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Shamova, Nadezhda. "A Comparative-Contrastive Analysis of Corpus Tools (Case Study: Working with Corpora of Cinematic Discourse)." Nizhny Novgorod Linguistics University Bulletin, no. 53 (March 31, 2021): 82–95. http://dx.doi.org/10.47388/2072-3490/lunn2021-53-1-82-95.

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A broad scope of application of corpus technologies indicates their importance in applied linguistics. Employing the comparative-contrastive method and the method of computer analysis, the author seeks to compare and contrast the main corpus tools of the programs Sketch Engine, AntConc, and WordSmith Tools, focusing on texts from specialized periodicals about cinematography ‘Total Film’ and ‘American Cinematographer’ for 2019–2020. The primary goal of this comparison is to provide recommendations for optimal choice of tools and programs for obtaining certain types of information. The author pr

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Schtein, Sergey Yu. "STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. EXAMPLE OF SCALING OF THE COMPONENT OF A THING AREA: FILM REVIEW." Articult, no. 2 (2022): 106–24. http://dx.doi.org/10.28995/2227-6165-2022-2-106-124.

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The article is devoted to the description of the theoretical modeling of film review as a functional component of the cinematography-polysystem. The nature of this subject allows building on three fundamental scales: ontological, the scale of the product of activity, as well the scale of the system-activity. The result obtained can be used, in one respect, as an example of the realization of a specific methodological work that brings information about cinematography into the form of homogenized theoretical knowledge, and, on the other respect, as a complete knowledge about the nature of the co

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B, Sahrul, Fathahillah Fathahillah, and Yasdin Yasdin. "Cinematography Design of Integrated Service Video Documentation." Journal of Research and Innovation 1, no. 1 (2023): 25. http://dx.doi.org/10.59562/jorein.v1i1.44869.

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This study aims to find out how the scene is in the integrated service video documentation, to know the cinematographic techniques used in the integrated service video documentation, and to find out the responses of respondents to the integrated research video documentation. This study used descriptive qualitative method. The method of data collection is by means of observation, documentation, and questionnaires. Data analysis used is data reduction, and the feasibility percentage scale. The results of this study indicate that: (1) The scan applied to the 2022 community service video media is

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Abdokov, Yuri B. "The film music by Boris Tchaikovsky: “Timbral optics” and “Visual acoustics”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 2 (2022): 104–39. http://dx.doi.org/10.35852/2588-0144-2022-2-104-139.

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There is something inexplicable in the fact that the film music of the greatest Russian composer of the 20th century, Boris Alexandrovich Tchaikovsky (1925–1996), hasn’t yet been seriously analyzed – not only as a part of his multifaceted legacy, but also as one of the very meaningful pages in the history of music and cinematography. The entire “literature” about the film music of the artist is limited with several synoptical essays (sometimes with gross factual errors and incredible contextual comparisons). But after all he, together with S. Prokofiev, D. Shostakovich, G. Popov, definitively

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Arozena, Teresa. "Promesas y prótesis." Latente Revista de Historia y Estética audiovisual, no. 1 (2003): 7–20. http://dx.doi.org/10.25145/j.latente.2003.01.12.

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Like a brief introduction, the article gives a view of the integrating movement of science and tecnology in representative arts. Photography and cinematography are considerated like hot spots in this «cold perception» that has been developed in art. The evolution operated in perceptual and cognitive systems it’s analysed from the beginig of the photographic and cinematographic apparatus to nowadays —the telecomunications and digital age— where important changes take place. In this context, some new representational vectors in relation with the image technique are outlined.

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Schtein, Sergey Yu. "STRATEGIES AND METHODOLOGICAL SCHEME OF CINEMA RESEARCH. THING AND MATERIAL." Articult, no. 2 (2021): 6–23. http://dx.doi.org/10.28995/2227-6165-2021-2-6-23.

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In the first article in a series of works devoted to the analysis of existing and potentially possible algorithms for the research of cinematography, we are talking about the need to understand the fundamental division of the researched into thing and material. This is due to the fact that if for cinema studies and various discourses about cinematography, it is directly that in relation to which cognitive activity is realized, that is, the thing of research (in a methodological sense), then for disciplines with their own thing area (philosophy, cultural studies, psychology, etc.), this or that

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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

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Kotliar, Svitlana, Volodymyr Mykhalov, and Dmytro Pereiaslavets. "Cinematography and Modern Media." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 70–76. http://dx.doi.org/10.31866/2617-2674.5.1.2022.257181.

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The purpose of the study is to analyze modern and traditional media; identify problems and prospects, compare modern media with its traditional analogues; describe the role of main professions associated with film and television; to reveal the problems of modern media. The research methodology consists in applying the following methods: theoretical – analysis of television programs, films, information sources, generalization of the influence of media on world transformations and determination of the interdependence of the structural components that form the whole television space. Scientific n

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Maltz, Andy. "ISO/TC 36 Cinematography." SMPTE Motion Imaging Journal 131, no. 8 (2022): 33. http://dx.doi.org/10.5594/jmi.2022.3193428.

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Davenport, G. "Basic Digital Cinematography Concepts." IEEE Multimedia 5, no. 2 (1998): 91. http://dx.doi.org/10.1109/mmul.1998.682532.

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Zunjic, Savo. "VR in French Cinematography:." Revista FAMECOS 30, no. 1 (2023): e44855. http://dx.doi.org/10.15448/1980-3729.2023.1.44855.

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In my research I am trying to establish the relation between Cinema and VR. The cinematic approach to VR has been particularly strong in France, as a lot of professionals from the world of cinema have been investing themselves over the past decade into fi nding a way to make VR movies, and in that way to move beyond the limitations of traditional cinema and approach the holy grail of the pioneers of the cinema, defi ned by Basin as “total cinema”. In my text I propose to analyze some example/s of French VR movies, such as in Alteration, Eternal Notre-Dame, I Philip, and Notes on Blidness.

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Kotliar, Svitlana, Volodymyr Mykhalov, and Dmytro Pereiaslavets. "Cinematography and Modern Media." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 70–76. https://doi.org/10.31866/2617-2674.5.1.2022.257181.

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<em>The purpose of the study is </em>to analyze modern and traditional media; identify problems and prospects, compare modern media with its traditional analogues; describe the role of main professions associated with film and television; to reveal the problems of modern media. <em>The research methodology </em>consists in applying the following methods: theoretical – analysis of television programs, films, information sources, generalization of the influence of media on world transformations and determination of the interdependence of the structural components that form t

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