Documentos de Académico
Documentos de Profesional
Documentos de Cultura
About Cinematography
What it can teach you about: Lighting
The Cabinet of Dr. Caligari is shot with low levels of lighting for a very simple reason:
playing with lighting can make some very interesting shadows. The films
cinematography may be extreme, but its a perfect example of how darkness and
shadow can emphasize evil, and how light can emphasize good.
More than this, the jagged, twisted lighting literally helps to emphasize the madness
within the film; characters are literally trapped in a nightmare. Another point of interest,
is that German Expressionist films like Dr. Caligari were filmed in war torn and poor
Weimar Germany. Shadows may be effective, but theyre also cheap.
What it can teach you about: Aspect Ratio, Colour
The nineteen fifties were the golden years of television; every American household
owned one, so why bother go to the cinema? It was a question that film directors had to
answer, and answer they did. The Searchers is a glittering example of a film that
delivered its audience an experience theyd be unable to replicate in their own living
rooms. Its technicolor is inherently beautiful. Its grand, its immersive and its obviously
vibrantly colorful.
John Ford and his cinematographer Winton C. Hoch pushed the envelope further by
filming in a high-res widescreen format known as VistaVision. The Searchers is BIG,
and should be viewed in a cinema whenever possible.
What it can teach you about: Lighting, Effect of Lenses
Stanley Kubrick was so determined to film certain scenes of Barry Lyndon using natural
light, that he went to the length of using camera lenses that had been developed by
NASA. Most famously, this allowed Kubrick to film indoor night scenes using only
candlelight (try it sometime, its near-impossible).
When he did deploy electric light, cinematographer John Alcott went to great lengths to
make sure that the lighting looked as natural as possible by using filters. Using natural
light (or natural looking light) is a great way of making a film look realistic, but Kubrick
and Alcotts extreme lengths created a particularly please aesthetic that replicated
eighteenth century paintings.
What it can teach you about: Camera Positioning
Pulp Fiction is told from the point of view of a variety of different characters, using a
non-linear narrative (in other words, everything is out of sequence). In order for this to
make any sense at all to an audience, Quentin Tarantino tells the story using classic
filming conventions. All scenes are filmed with one camera, and most shots are
medium or close never letting us too far aways from the characters that ground the
story.
We also regularly see point of view camera angles; especially during dialogue scenes,
where we see the conversation played out using the classic shot-reverse-shot
technique that switches the point of view between characters. As a result, in a
complicated story were always firmly connected to the characters narrative.
What it can teach you: Camera movement, Lighting, Focus
Each scene in Gosford Park was shot using two cameras filming simultaneously.
Unusually, in each scene the camera is always moving (even if its only very subtle
movement). Almost everything is kept in focus, and indoor shots have soft lighting
spilling in every direction. This allowed the actors to act freely, and complete scenes
without the interruption of having to reposition the camera and relight each scene.
Many critics praised the gliding quality of Andrew Dunns cinematography. The set-up
firmly elevates the importance of character interactions within the movie.
subconscious.
More than this, he captured the narrative using a handheld camera and made an
obviously unreal experience feel like a reality based documentary. Why? As fantastical
or distorted as they may be, our memories and our imaginations feel real to us. As a
result, many of us not only found Gondrys film realistic, we also found it nostalgic.
What it can teach you about: Length of Shot, Camera Movement
The Bourne Supremacys cinematography really tied audiences and film critics in
knots. Many loved it, many hated it. Either way, it was enormously influential on films
like The Dark Knight and Quantum of Solace.
The Bourne Supremacy was so different because conventional film wisdom would say
that you would pan or zoom to set the scene, then after the camera had stopped
moving youd then see an edit that takes you to the next shot.
Not so during The Bourne Supremacy. The movie frequently edits mid camera
movement in an effort to disorientate the audience. While editing may be separate from
cinematography, the length of a shot is often crucial to what a cinematographer is
trying to convey. Cinematographer Oliver Wood created a movie with action sequences
that feel wildly jerky, and have a constant sense of chaos and adrenaline as a result.
Author Bio: David Biggins is a film graduate and marketeer from England. Hes been
published on the BBC website, and used to present a film radio show in Norfolk. Before
joining Taste of Cinema he was a film critic for Reel Whispers.You can follow David on