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Books > Arts & Architecture > Photography & photographs > Special kinds of photography > Cinematography, television camerawork
Legendary Danish filmmaker Carl Theodor Dreyer (3 February 1889-20
March 1968) was born in Copenhagen to a single mother, Josefine
Bernhardine Nilsson, a Swede. His Danish father, Jens Christian
Torp, a married farmer, employed Nilsson as a housekeeper. After
spending his first two years in orphanages, Dreyer was adopted by
Carl Theodor Dreyer, a typographer, and his wife, Inger Marie
Dreyer. He was given his adoptive father's name. At age 16, he
renounced his adoptive parents and worked his way into the film
industry as a journalist, title card writer, screenwriter, and
director. Throughout his career he concealed his birth name and the
details of his upbringing and his adult private life, which
included a period in which he explored his homosexual orientation
and endured a nervous breakdown. Despite his relatively small
output of fourteen feature films and seven documentary short films,
1919-64, he is considered one of the greatest filmmakers in history
because of the diversity of his subjects, themes, techniques, and
styles, and the originality of the bold visual grammar he mastered.
In Cinematography of Carl Theodor Dreyer: Performative Camerawork,
Transgressing the Frame, I argue: 1) that Dreyer, an anonymous
orphan, an unsourced subject, manufactured his individuality
through filmmaking, self-identifying by shrouding himself in the
skin of film, and 2) that, as a screenwriter-director who blocked
entire feature films in his imagination in advance-sets, lighting,
photography, shot breakdowns, editing-and imposed his vision on
camera operators, lighting directors, actors, and crews in
production, he saw filmmaking essentially as camerawork and he
directed in the style of a performative cinematographer.
Completely updated for current HD, UHD, 2K, and 4K workflows, Avid
Editing blends the art and aesthetics of motion picture editing
with technical, hands-on instruction. Appropriate for beginners and
intermediate users who need to refresh their knowledge of essential
post-production techniques, this fully revamped and full-color
sixth edition is also an excellent tool for editors coming to Avid
from other non-linear editing platforms. Topics covered include
trimming, audio, effects, titles, color correction, customization,
inputting, and outputting. A robust accompanying online eResource
features professionally shot footage and Avid project files,
allowing readers to work alongside the lessons taught in the book.
The new edition covers: Avid Media Composer licensing choices
Changes to the Avid user interface Basic and advanced visual
effects Mastering Avid's audio tools Exploring Avid's Title Tool
and NewBlue Titler Pro Understanding double-system sound techniques
Syncing picture and sound files Understanding and applying LUTs The
latest HD, UHD, 2K, and 4K Workflows
The book illustrates that supposedly outmoded, analog practices in
contemporary photographic and cinematic art not only have maximum
actuality, but also critical potential. Using the example of
artists' practices that are motivated by the idea of the
photographic and/or the cinematic but do not necessarily lead to
photographs or films, the book shows how, in multiple ways, the
display tool-the apparatus-can be explored, taken apart, reflected,
modified, and newly arranged. The contributions that have also
emerged from cooperative efforts between artists and scientists
focus on the required technical/material processes and demonstrate
that knowledge of medial difference is also socio-politically
relevant.
"The real charm of Byways isn't playing spot-the-location as
Deakins dabbles between takes, but the window it opens onto his
youthful eye. You can trace his drive from an early age to catch
the light at its best - or wait for it - all night if necessary." -
The Telegraph "...his first monograph, Byways, looks not to his
revered cinematography career, but his decades-long habit of taking
still photographs. Among them are breathtaking landscapes and
moments of stillness, interspersed with photographs imbued with wit
thanks to the playful possibilities of scale, framing and timing.
It's the kind of dry humour that sits passers by in conversation
with monuments and miscellaneous objects in the street, or captures
a canine rendition of Cartier-Bresson's seminal image Behind The
Gare Saint-Lazare. - Creative Review "Candid close-ups, wide-angle
landscapes, and dynamic long exposures, his monochrome photographs
display a variety of approaches and techniques, yet first and
foremost, testify to the remarkably perceptive artistic gaze that
has seen him nominated for an Oscar on fifteen separate occasions
(winning twice). Thoughtful, poetic, and profoundly arresting, they
display his distinct enigmatic sensibility, and presented for the
most part with little or no information or context (index aside)
form a compelling visual soliloquy that conveys with great
eloquence, the profound power of the still image." The Independent
Photographer "An intimate introduction to the man behind the lens"
- The Times Portraits and landscapes from the cinematographer famed
for his work with Sam Mendes and the Coen brothers This is the
first monograph by the legendary Oscar-winning cinematographer Sir
Roger Deakins, best known for his collaborations with directors
such as the Coen brothers, Sam Mendes and Denis Villeneuve. It
includes previously unpublished black-and-white photographs
spanning five decades, from 1971 to the present. After graduating
from college Deakins spent a year photographing life in rural North
Devon, in South West England, on a commission for the Beaford Arts
Centre; these images are gathered here for the first time and
attest to a keenly ironic English sensibility, also documenting a
vanished postwar Britain. A second suite of images expresses
Deakins' love of the seaside. Traveling for his cinematic work has
allowed Deakins to photograph landscapes all over the world; in
this third group of images, that same irony remains evident.
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