Relevant bibliographies by topics / Film - Cinematography

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Film - Cinematography'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Film - Cinematography"

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Tedjorahardjo, Christa Azalia. "Picturing the Boundary Between Good and Bad: The Lighting, Framing, and Camera Movement of “Kidnap”." K@ta Kita 5, no. 2 (November 16, 2018): 9–17. http://dx.doi.org/10.9744/katakita.5.2.9-17.

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This creative work is a cinematography report from the screenplay “Kidnap” by Indah Sari Y. The story tells about a criminal who is given a mission to kidnap the daughter of a deceased wealthy CEO, however the Man realized that he mistakenly kidnapped the wrong person. He is caught in the dilemma whether or not to let her go, yet his situation only gets worse when he is given the order to kill her. The cinematography of this film aims to convey the story and message that the director envisioned. Moreover, it aims to portray characterization through various elements of cinematography such as framing, lighting, and camera movement. It also intents to manipulate tone and mood through those cinematographic elements. To further understand the cinematography of this film, three main theories are used: low-key lighting, head-room and lead-room, and handheld camera movement. These theories are to help the cinematographer to convey the genre of psychological suspense, with the subgenre of crime drama. An in-depth analysis in this report will talk in details about how cinematography achieved the desired effects towards characterization, mood, and tone.
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Iktia, Garcia. "KAJIAN KOMPARATIF HISTORIS FILM 'PENGABDI SETAN'." Jurnal Budaya Nusantara 2, no. 1 (September 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, namely the horror genre. Both films have good unity in the story and cinematography, but inthe film “Pengabdi Setan” made in 2017 the audience is treated to a different cinematography than the one made in 1980and the many cinematographic developments in the Indonesian film horror genre.
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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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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. The examination of main boundaries in interrelation and mutual influence of Kyrgyz cinematography and music defines the scientific novelty of this article. The research results may be used in future articulation of culturological problems of Kyrgyz cinematic art, as well as in practical activity of the workers of Kyrgyz cinematographic industry. In the current conditions of the development of cinematography, examination of interrelation between Kyrgyz cinematography and music allows conducting a comprehensive analysis of polyfunctionality of the film score.
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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 “soft power” of the country. According to the testimony of numerous Russian experts, namely cinematography of the United States has highest impact potential and forms mental images of the army and military not only among the U.S. citizens, but also for the Russian society, which always triggers questions related to the cultural aspects of national security. It is worth noting that modern U.S. military cinematography becomes the special subject of scientific research for the first time. The author comes to the conclusion that in the recent decade, U.S. film production in military genre has undergone substantial transformations. The films on the World War II and the Vietnam War are replaced with the films on global war on terrorism and local national conflicts. Among other peculiarities of recent years in U.S. military cinematography, the author notes female film directors in this sphere, personification of the images of enemy, deconstruction of the image of military man as a mythological defender and rescuer. The latter noticeably contradicts the Russian film tradition and culture, for which the army and military history remain the important points of national self-identity, key components of formation of images of the great past and common future.
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Reghita, Lavena. "Perilaku Penemuan Informasi pada Mahasiswa UKM Sinematografi Universitas Airlangga." Palimpsest: Jurnal Ilmu Informasi dan Perpustakaan 11, no. 1 (September 7, 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 Cinematography carry out the process of finding information. This study aims to determine the description of information seeking behavior in students of cinematographic, therefore this study uses the Wilson-Ellis Information Seeking Behavior Model. The method used in this research is quantitative descriptive method using total sampling technique. This study provides results regarding information related to the story line (65.6%) as the needs needed by Sinematogarfi UKM students, with the theme of one's experience (67.2%) which is done by conducting research (50.8%) first. The obstacle that is often experienced by students of UKM Cinematography is the difference of opinion (36.1%) when discussing with other UKM. For the references that are often used by students of UKM Cinematography, most of them are articles (73.8%) that are done at the browsing stage. In addition, seminars, workshops, film operations and film festivals (50.8%) are the preferred access for most students of Cinematography.Keywords: Information Searching Behavior; Information Needs; Student Cinematography AbstakPerilaku pencarian informasi di kalangan mahasiswa Sinematografi untuk menghasilkan karya film, dilatarbelakangi oleh adanya kesenjangan yang dapat menimbulkan kebutuhan informasi berdasarkan minat mahasiswa Sinematografi. Kebutuhan informasi mahasiswa UKM Sinematografi didasarkan pada kebutuhan informasi yang didasarkan pada faktor lingkungan yaitu informasi yang berkaitan dengan jalan cerita. Selain itu, sebagian besar mahasiswa UKM Sinematografi memproduksi film bertema pengalaman sendiri. Untuk memenuhi kebutuhan tersebut mahasiswa UKM Sinematografi mengalami kendala dalam proses pencarian informasi, hal ini membuktikan bahwa mahasiswa UKM Sinematografi melakukan proses pencarian informasi. Penelitian ini bertujuan untuk mengetahui gambaran perilaku pencarian informasi pada mahasiswa sinematografi, oleh karena itu penelitian ini menggunakan Model Perilaku Pencarian Informasi Wilson-Ellis. Metode yang digunakan dalam penelitian ini adalah metode deskriptif kuantitatif dengan menggunakan teknik total sampling. Penelitian ini memberikan hasil mengenai informasi terkait alur cerita (65,6%) sebagai kebutuhan yang dibutuhkan oleh mahasiswa UKM Sinematogarfi, dengan tema pengalaman seseorang (67,2%) yang dilakukan terlebih dahulu dengan melakukan penelitian (50,8%). Kendala yang sering dialami mahasiswa UKM Sinematografi adalah perbedaan pendapat (36,1%) saat berdiskusi dengan UKM lain. Untuk referensi yang sering digunakan mahasiswa UKM Sinematografi, sebagian besar berupa artikel (73,8%) yang dikerjakan pada tahap browsing. Selain itu, seminar, lokakarya, operasi film dan festival film (50,8%) merupakan akses yang disukai oleh sebagian besar mahasiswa Sinematografi. Kata Kunci: Perilaku Mencari Informasi; Kebutuhan Informasi; Sinematografi Mahasiswa
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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 (October 22, 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. The Garibaldi Film Commission and the cinematography route ‘Garibaldi a cinematography city’ are strategic to capture productions and to diversify the local tourism. In addition, the places used as sceneries can be directed to promote historical and cultural attractions in the region.
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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 (June 15, 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 sign). Framing consolidates the process of cinematography divided by the artistic and production dichotomy, which is especially important in the context of mass culture determined by the total industrialization of all areas of life, including cinema. The essay is based on the statement of Sergei Eisenstein that each high film work has the unity of two dialectical categories: the content (abstract language, part of logical thinking) and the form (emotional language, part of emotional-sensory thinking). It identifies and analyzes the spatial-temporal and linear-tonal features of cinematic framing as a method of expressing the metaphorical existential context of the crisis of Russian self-identification, using as examples a number of expressive episodes of the documentary film Anna: 618 (1980-1993; dir. Nikita Mikhalkov, DOPs: Pavel Lebeshev, Vadim Yusov, Vadim Alisov, and Elizbar Karavaev). This film work is explored as a study of the socio-cultural situation in modern Russia undertaken from a multi-faceted and multi-level authorial perspective associated with expressive cinematographic framing.
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Stanik, Mariusz. "UWAGI DO WYKŁADNI ART. 19 UST. 1 USTAWY O KINEMATOGRAFII." Zeszyty Prawnicze 11, no. 3 (December 20, 2016): 335. http://dx.doi.org/10.21697/zp.2011.11.3.17.

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Comments to the Interpretation of art. 19 Clause 1 of the Cinematography ActSummary The text describes a dispute between entities conducting cinemas and film distributors regarding the interpretation of art. 19 clause 1 of the Cinematography Act. The dispute concerned the question whether under the aforementioned provision film distributors are obliged to participate in financing the fee towards Polish Film Art Institute. Analysis of this issue is based on the Warsaw District Court and Appeal Court judgments issued in 2008 and 2009. Analysis also takes into consideration the stenographic records of the parliamentary committee working under the Cinematography Act and interpretation of art. 19 clause 1 of the Cinematography Act made by Polish Film Art Institute itself. In conclusion the author states that according to art. 19 clause 1 of the Cinematography Act the only entities obliged to finance and pay the fee towards Polish Film Art Institute are entities conducting cinemas. Possible changes in this scope may be made only under the appropriate provisions of civil law agreements between such entity and film distributor.
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MANAKBAYEVA, Aigerim, and Serik SEIDUMANOV. "ACTUAL ISSUES OF PUBLIC POLICY IN THE FIELD OF CINEMATOGRAPHY." Public Administration and Civil Service, no. 2-77 (June 29, 2021): 32–40. http://dx.doi.org/10.52123/1994-2370-2021-252.

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Cinematography is one of the least studied and emerging areas of research in public administration. The main principles of state policy in the field of cinema are support for domestic cinema and providing access to Kazakhstani film products. The purpose of the article is to analyze the topical problems of domestic cinematography, taking into account the principles of state policy in the field of cinematography. The methodological basis of the research is based on scientific works on the issues under consideration, regulatory legal acts. The work used the official statistics of services in the field of cinema. A factorial analysis of the current state of the film industry was carried out using the analytical tool PEST-analysis. In addition, a discursive analysis of the representation of ideas of state policy in modern Kazakhstani cinema was carried out. Modern Kazakhstani films of the last 10 years were considered as additional materials. The study showed that the support of national films is an important direction in the public administration in the field of cinematography. Socially significant films have non-commercial, spiritual and artistic value. Financial profit belongs to commercial films of private companies. The sharp decline in industry statistics confirms that the global pandemic in 2020 was a tough time for the film industry. Further development of the industry should be a common task not only of the state, but also of all interested parties.
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Dissertations / Theses on the topic "Film - Cinematography"

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Perez, Abraham B. "Film d'Art and Saint-Saens| Pioneers in creating art through silent film and music." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1572846.

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Film d'Art, the French production company responsible for the development of Henri Lavédan's L'Assassinat du Duc de Guise (1908), demonstrated a forward-thinking vision for film and music. Through their innovations, the company combined many elements of cinematography with new standards for quality productions. This project report will investigate the goals of Film d'Art and its unusually high ambitions, standard music practices in the silent film era, the issues revolving around the instrumentation to Saint-Saëns' score to Henri Lavédan's L'Assassinat de Duc de Guise (1908), and the performance of my arrangement in a graduate recital.

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Levatino, Michael Anthony Jr. "The Iron Curtain of Russian Film: Russian Cinematography 1917-1934." ScholarWorks@UNO, 2018. https://scholarworks.uno.edu/honors_theses/106.

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This thesis will study the separation between the three primary eras of Soviet cinema (Tsarist/Provisional Government-era, Bolshevik-era, and Stalinist-era) and how Soviet workers (both urban and rural) were affected by, reacted to, and associated with film propaganda. The thesis will attempt to establish a narrative that follows Soviet film from its early creation and nationalization in 1919 to the heavily oppressive Stalinist era. A variety of organizations, films, and individuals are studied to relate public perception to the use of film as propaganda. The thesis will also focus on the bourgeois film leaders that lead the film industry. Not only will Soviet leaders be studied, but the reaction of urban and rural workers to films will be considered. Soviet film strategy had goals of selling a collective Soviet identity to the urban and rural worker in the Soviet Union. There are similarities and differences between the urban and rural working Soviet, but both groups ultimately rejected the avant-garde style of Soviet film.
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Burgos, Barbosa da Silva Guilherme. "Black and White Cinematography in the Digital Era." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2017. http://www.nusl.cz/ntk/nusl-364699.

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I want to understand why B&W filmmaking is appearing as an artistic form in contemporary times, and how these films are being made technically. To explore the technology currently being used, I will create a test and examine results of the same scene filmed with RED color, RED bw, ARRI color, ARRI bw and Double X. I plan to analyze raw images for comparign first characteristics, then apply color grading to get final b&w results.
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Płazińska, Katarzyna. "Notes on Solace." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1891.

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Antonsen, Torben. "Sublime pixels : exploring the audience experience in digital special effects cinema : [a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in Film] /." ResearchArchive@Victoria, 2009. http://hdl.handle.net/10063/1075.

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Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.
This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.
I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.
The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.
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Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.

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Nelson, K. E. "A compilation of information about the life of Robert Kates Bonine, 1862-1923 : with an examination of his early years in photography and film /." Online version of thesis, 1989. http://hdl.handle.net/1850/11373.

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Zook, Julie Brand. "The flow of city life: An analysis of cinematography and urban form in New York and Los Angeles." Diss., Georgia Institute of Technology, 2016. http://hdl.handle.net/1853/54927.

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This dissertation uses quantitative data on city cinematography and the morphological study of filming locations to identify how differences in ways of seeing cities, as shaped by cinematographic choices, are anchored both in differences in what is physically present as well as in differences in frameworks and expectations about what might be interesting or important to see. Four films are evaluated that are set in Los Angeles and New York, two cities recognized as paradigms in American urbanism: The Naked City (1948), The Long Goodbye (1970), Goodfellas (1990), and Pulp Fiction (1994). In general, the New York movies suggest the embeddedness of the individual in the city and its social life in ways tied closely to urban form, with the visual presentation of the street acting as an index to the position of the individual within the narrative. Los Angeles, by contrast, presents the city as a series of enclaves linked by infrastructure. The street as a sociologically relevant entity hardly exists, with the exception of a handful of chase scenes, as though only crisis can catalyze direct encounters with the streets of Los Angeles. Within individual movies, the depiction of city form reveals directorial idioms in the presentation of the narrative. The Naked City exploits corner shots to impart greater visual interest to the presentation of activity in the streets. The Long Goodbye shows the degradation of the distinction between public and private space as concurrent with a city form and culture that resists decoding. Goodfellas develops a grammar of views on the street that corresponds to the relationships of individual characters to overlapping social groups over time. Pulp Fiction mainly presents city locations as decontextualized to focus on dialogue and relationships, to sculpt urban form to meet the exigencies of the narrative, and to all the more powerfully introduce surprise. In the concluding chapter, the qualities of the city as presented in Goodfellas and Pulp Fiction and both of the cities are diagrammed and discussed relative to architectural precedents and ideas that might inform architectural design.
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Roe, James Madison. "AM800." ScholarWorks@UNO, 2013. http://scholarworks.uno.edu/td/1760.

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In this paper, I will detail the film making techniques that my crew and I employed while making AM800, my thesis film at the University of New Orleans. I will detail the creative and technical steps we took, from the earliest stages of idea conceptualization to the final phases of post-production and screening. During my recounting of this process, I will discuss our creative goals, the challenges that we faced while achieving these goals, and the resulting product's effectiveness as a narrative short film. The quality of the final product will be gauged through the results of test screenings and direct audience feedback.
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Books on the topic "Film - Cinematography"

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Malkiewicz, J. Kris. Cinematography. 2nd ed. New York: Prentice Hall Press, 1989.

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Malkiewicz, J. Kris. Cinematography: A guide for film makers and film teachers. 2nd ed. New York: Fireside Book, 1992.

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Cinematography: A guide for film makers and film teachers. 2nd ed. New York, N.Y: Simon & Schuster, 1992.

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Malkiewicz, J. Kris. Cinematography: A guide for film makers and film teachers. 2nd ed. New York: Fireside Book, 1992.

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Practical cinematography. 2nd ed. Oxford: Elsevier/Focal Press, 2005.

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Maria, Viera, ed. Lighting for film and electronic cinematography. Belmont, Calif: Wadsworth Pub. Co., 1993.

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E, Rogers Robert, ed. Cinematography, a guide for film makers and film teachers. New York: Prentice Hall Press, 1986.

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Film-making. London: Wayland, 2009.

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Beaver, Frank E. Dictionary of film terms: The aesthetic companion to film analysis. New York: Twayne, 1994.

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Bernstein, Steven. The technique of film production. London: Focal, 1988.

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Book chapters on the topic "Film - Cinematography"

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Boukary, Sawadogo. "Cinematography." In African Film Studies, 65–71. Abingdon, Oxon; New York, NY: Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9780429508066-5.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Cinematography." In A Level Film Studies, 31–49. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-2.

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kydd, Elspeth. "Cinematography." In The Critical Practice of Film, 105–42. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_6.

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Dixon, Mark. "Cinematography." In Essential Revision for A Level Film Studies, 3–21. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-2.

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Hoser, Tania. "Color, Image Control and the ‘Look’ of the Film." In Introduction to Cinematography, 337–60. New York : Routledge, Taylor & Francis Group, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315305318-17.

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Keating, Patrick. "The Art of Cinematography." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 71–93. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_4.

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Cormack, Mike. "Towards Film Noir: Dead End." In Ideology and Cinematography in Hollywood, 1930–39, 123–37. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1007/978-1-349-11858-8_9.

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Stegierski, Rafał, and Karol Kuczyński. "Emulation of the Double-X Cinematography Negative Film." In Advances in Intelligent Systems and Computing, 135–42. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-32384-3_17.

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Stump, David. "File Formats, Log Encoding, Data, and Compression." In Digital Cinematography, 531–51. 2nd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429468858-15.

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Deuber-Mankowsky, Astrid. "Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini’s Medea." In The Scandal of Self-Contradiction, 255–66. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_14.

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As the film theorist Janet L. Borgerson claims, there is something awry in our historical memory of Medea. This is precisely the point of departure for Pasolini’s film: he does not create an opposition between the world of patriarchal reason, embodied by Jason, and the matriarchal, irrational, archaic, and magical world personified by Medea. On the contrary, he shows that this opposition is itself the product of a historical conception.
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Conference papers on the topic "Film - Cinematography"

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Bares, William, and Donald E. Schwartz. "Film Ties: Crowd-sourced Teaching of Cinematography Using Intelligent Example Galleries." In the 19th ACM Conference. New York, New York, USA: ACM Press, 2016. http://dx.doi.org/10.1145/2818052.2869088.

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Zakharova, E. I., O. A. Karabanova, and Ya A. Starostina. "Feature Film Cinematography and its Impact on Formation of Parenthood Affirmations in Young Students." In Proceedings of the First International Volga Region Conference on Economics, Humanities and Sports (FICEHS 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aebmr.k.200114.108.

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Joon, Jong Sze, Soon Eu Hui, and Yuen May Chan. "Understanding the Technicalities of Photorealistic 3D Environments to Support Cinematography and Composition for Film and Animation." In 2008 5th International Conference on Computer Graphics, Imaging and Visualisation (CGIV). IEEE, 2008. http://dx.doi.org/10.1109/cgiv.2008.28.

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González Cubero, Josefina. "Mirada objetiva y dimensión subjetiva del cine en Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.803.

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Resumen: Los contactos de Le Corbusier con el mundo cinematográfico se dilatan a lo largo de su trayectoria profesional y recorren un amplio espectro. Se concretan en la concepción y construcción de salas dedicadas a la proyección del cine, la participación en proyectos y realización de películas, así como la publicación de un esporádico escrito monográfico titulado "Esprit de vérité" (1933). Este trabajo aborda la singularidad de su pensamiento cinematográfico frente al de otros insignes arquitectos coetáneos y pone de relieve el cambio que experimenta éste entre la película L’Architecture d’Aujourd'hui (1930) y la obra multimedia Le Poème électronique (1958), mostrando un camino que parte de la consideración del cine como un medio donde la imagen se pone al servicio de la arquitectura, y nunca al revés, hasta llegar a utilizar el montaje soviético como mensaje subjetivo del realizador, en este caso también autor de la arquitectura. Abstract: Le Corbusier’s contacts with the world of cinematography spanned his entire career and cover a broad spectrum. They materialized in the conception and construction of screening rooms for cinema, the participation in projects and cinema-making, and the publication of sporadic features under the title "Esprit de vérité" (1933). This article covers Le Corbusier’s unique cinematographic thought standing apart from those of other distinguished architects of his generation and highlights the change he experienced between the film L’Architecture d’Aujourd'hui (1930) and the multimedia work Le Poème électronique (1958). It traces a path originating with the notion of cinema as a medium where images are at the service of architecture and never the other way around, and winding up with the use of soviet montage as a subjective message of the filmmaker who, in this case was also maker of the architecture. Palabras clave: Le Corbusier, arquitectura, película, cine, montaje. Keywords: Le Corbusier, architecture, film, movie, cinema, montage. DOI: http://dx.doi.org/10.4995/LC2015.2015.803
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Choi, Yang Hyun, and Jaehong Ahn. "A study on correlation between stereographic cinematography and storytelling: through a documentary film about Ho Quyen-UNESCO World heritage in Vietnam." In IS&T/SPIE Electronic Imaging, edited by Andrew J. Woods, Nicolas S. Holliman, and Neil A. Dodgson. SPIE, 2010. http://dx.doi.org/10.1117/12.840944.

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Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

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The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
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Martínez Millana, Elena. "Le Corbusier versus Sergei Eisenstein. La construcción de un sueño." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.824.

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Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que refuerza la hipótesis planteada. Por otro lado, se realiza un análisis de Poème électronique - filme de 480” que Le Corbusier hace en 1958 con motivo de la Exposición Universal en Bruselas - con la intención de visibilizar que Le Corbusier recurre a la técnica del montaje dialéctico de la que Eisenstein era maestro y por tanto la consustancial influencia. Le Corbusier reconoce el potencial de esta técnica de montaje y se sirve de ella como la estrategia clave en su aproximación al ámbito de la cinematografía. El mecanismo del montaje dialéctico forma parte de su propio pensamiento y lo materializa en su arquitectura y también en el caso de estudio que nos ocupa, en la disciplina de la imagen en movimiento, tan próxima a ésta. Pero hay más, en el Pabellón Philips la técnica del montaje oculto - sobre la que Eisenstein había teorizado en aquél periodo - está presente, pues mediante éste mecanismo construye la puesta en escena del espectáculo total. Como veremos, Poème électronique representa la construcción de un sueño. Abstract: This article reviews the relationship between the architect Le Corbusier and the filmmaker Sergei Eisenstein. When launched, it was seen to hypothesise the possible influence of the filmmaker in the work of Le Corbusier. Le Corbusier versus Eisenstein, in the deepest sense of the expression, is portrayed as "towards to": Le Corbusier towards the film, not in opposition to it. It outlines the role of each figure and their interactions during the period between 1928 and 1936, the time when Le Corbusier got closer to the Soviet Union. This context forms a complex framework from which it is possible to glimpse what it is that links them, reinforcing the hypothesis-raised. On the other hand, this work presents an analysis of the Poème électronique - 480" film Le Corbusier made in 1958 for the Universal Exhibition in Brussels - in order to exemplify that Le Corbusier uses the technique of dialectical montage, in which Eisenstein was the undisputed master, thereby highlighting an inherent influence. Le Corbusier recognises the potential of this montage technique and uses it as a key strategy in his approach to the field of cinema. The mechanism of dialectical montage is a part of Le Corbusier's own thought and this materialises both in his architecture as well as in the subsequent case study regarding the discipline of the moving image, which is closely aligned to it. There is, however, more to it. In the Philips Pavilion, the hidden montage technique - theorised by Eisenstein in that period - is present, the use of which was the mechanism to construct the stage for the spectacle as a whole. As we will see, Poème électronique represents the construction of a dream. Palabras clave: Eisenstein; Le Corbusier; Le Poème électronique; montaje dialéctico; montaje oculto; cinematografía. Keywords: Eisenstein; Le Corbusier; Le Poème électronique; dialectical montage; hidden montage; cinematography. DOI: http://dx.doi.org/10.4995/LC2015.2015.824
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Reports on the topic "Film - Cinematography"

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Bożek, Małgorzata. FILM PRODUCTION IN POLAND. STAGES: FROM AN IDEA TO THE SCREEN. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11112.

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The Polish film system is characterized by a variety of forms. Michał Zabłocki, the author of the comprehensive study of the «Organization of the production of feature film in Poland», isolates two models of world cinema: a producer and a producer – director. The first one features the dominant role of the producer, which means the person who is responsible for the work of all the film departments – direction, cinematography, production management, scenography and costume design. The second one, the model which is still the most popular in Poland, assumes close cooperation between the producer and the director.
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