Jean Baudrillard

• telly developing new 'cold' universe of communication
• tv screen keeps subject in a position of alienation
• plentitude offered through changing of texts but is forever defferrred
• the faustian, promethean  period of production and consumption' has given way to 'the narcissistic and protean era of connections, contact continuity feedbaxk and generalized interface that goes with the universe of communication'
• the whole earlier 'intimate' universe with its domestic scene, interiority, private space time correlative to a public space is all disappearing
• instead 'there is a screen and a network'

Whose imaginary? The televisual apparatus, the female body and textual stratergies in select rock videos on mtv by E. Ann Kaplan

Female Spectators: Looking at film and tv

verso

second edition 1990

Cinematography Quotes

 Vilmos Zsigmond

• in 2d you have to create the depth
• film noir type lighting that is a hard direct light source
• when the camera is shaking all over the place you cannot forget you are watching a movie
• seldom have arguments with directors because im trying to shoot their ideas not mine

Christopher Doyle

• th cinematographer/camera operator is the closest person to the actor
• the bridge, the conduit between the audience and what's in front of the camera
• gives resonance to the image
• have to be transparent and remove ourselves enough so that the passage between the actors and the audience is direct
• if you are working with digital etc, the energy and the challenge comes from the peculiarities of the medium not from trying to replicate film
• inform myself and the audience through visual experience and enhance it or suggest another visual experience
• 'is that all you can do?'
• I have used green moonlight in many of my films
• Art is supposed to transcend the mundane, the accepted, not condescend to it
• being an outsider is useful
• camera people not directors of cinematography

Michael Ballhaus

• Anything you can think, you can also do. Sometimes it takes a little longer, or it takes a little mor money but you can do it
• you can't move the camera in a comedy as much as you can in a drama because the timing is too important
• a bulb is a constant light but a candle flickers
• right tone between seeing enough and not too much
• every movie I do should look different

James Wong Howe

• There's one thing a light meter can not tell you, and that's whether it's the right mood or not

Ed Lachman

• painters always came from a certain personal, social and political position - you could come from a certain idea about an image rather than just trying to make it look aesthetically beautiful
• dadaism and the found image in art
• use of colour to create emotions rather than pictorial representation
• how different light sources mixed or individually create a mood through the different colour tempuratures
• What will tell the poetic or pyschological truth of an image
• images are metaphors to uncover something - helping reach interior
• you can deal with reality as the illusion and you can create your illusion as reality

Rodrigo Pieto

• I go to photography books - how could I present that visually
• Oliver Stone expects his team to propose concepts
• I do my own shot list before  I talk to the director
• I try to have the camera move as if the scene's energy makes it move
• I don't think 'good' photography is always 'beautiful' photography
• images holud just be what moves you and what will support the story

Caleb Deshcanel

• You start the movie and you finish it
• sometimes I like the chanllenge of something not being overtly visual
• visual style that tells story -repeating elements, something new
• It's really like music - it has different movements
• I like to take every scene and think about what's important
• bring an emotional context from a visual point of view
• become a real observer and  develop an understanding of human behaviour

Raoul Coutard

• I think that a film is good when you come out of the cinema totally stunned

Vittorio Storaro

• Cinema is a language of image
• a cinematographer has to design and write the story starting at the beginning, through the evolution to the end

Chris Menges

• operating a camera with ground glass you see and beleive
• you have to be driven but you also have to listen

Dion Beebe

• people have to be able to invest a lpt of confidence in your ability
• prepare thoroughly for each job
• relationships you develop for your crew
• no should never be an option
• the idea is key and having blue sky moments liberates those ideas
• create an atmosphere of trust

Jack Cardiff

Owen Roizman

Development of a TV Studio Production

1. Idea
2. Draft Script
3. Preliminary Planning
4. Final Script
5. Technical planning
6. Rehearsal Script
7. Pre studio rehearsals
8. Camera script
9. Prepare Studio
10. Camera blocking
11. Run through
12. Final Rehearsal
13. Videotaping
14. Offline editing decisions
15. On line editing
16. review
17. Transmission

Wide vs Narrow-angle Lens

Wide angle Lens:

1. Takes in large segment of scene
2. can distort picture
3. space, distance and depth are exaggerated
4. camera handling and focusing are easy

Narrow Angle Lens:

1. Small segment of scene in shot
2. Narrowest angles can give blow up telescopic image
3. Space, distance and depth are compressed
4. Camera handling and focusing harder