By Brian Hall
Cinematography is the paintings and craft of visualizing and recording the relocating snapshot. The cinematographer for that reason has to exploit their technical and artistic talents to photographically trap the temper of the movie and the imaginative and prescient of the director. performed correctly, they upload the magic and intensity to a movie, giving it a defining edge.
This useful booklet explains the foundations in the back of cinematography, in addition to the talents of the cinematographer. Having defined the apparatus, it seems at how you can interpret the script and advises on how to define a visible variety. Written via a revered cinematographer, it additionally explains the jobs of the digital camera group and the significance of operating as a team.
Fully illustrated with 128 color photos.
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Extra resources for Understanding Cinematography
Qxd 10/3/07 12:51 PM Page 29 The Wicker Man, Frazer, and the Ancient Celts 29 Hardy and Shaffer dipped liberally into The Golden Bough in order to create their world of Summerisle, but this “dipping” was highly selective: Frazer’s chapter “The Fire-Festivals of Europe,” wherein he notes the pan-European (if not universal) significance of certain bonfire rites, and his lengthy discussion of the Scottish Beltane festival (celebrated on the first of May) make up much of the context for The Wicker Man’s diegesis.
In order to have this power it must have something unusual and striking about it. qxd 40 10/3/07 12:51 PM Page 40 Chapter Three motifs fall into three classes. First are the actors in a tale—gods, or unusual animals, or marvelous creatures like witches, ogres, or fairies, or even conventionalized human characters like the favorite youngest child or the cruel stepmother. Second comes certain items in the background of the action—magical objects, unusual customs, strange beliefs, and the like. In the third place there are single incidents.
Significantly, what should be the most relevant motif in Thompson’s Index is one of the tougher to follow up. E422 is identified as “The Living Corpse” and is defined by Thompson as “Revenant is not a specter but has the attributes of a living person. 445). This motif in particular both describes the character/agency (“The Living Corpse”) and develops the character slightly by motivating the figure’s existence (waiting until the monster’s “second death”). This creature is more in keeping with the cinematic zombie.