Choose one DP from the documentary (either one who is interviewed or who is discussed) and watch one of their films. Write one paragraph about the DP and what you found intriguing about the cinematography. Enjoy--I want you to go out of your comfort zone and discover something new.
Here is the documentary in full.
The 1992 documentary “Visions of Light” discusses the evolution of cinematography from the birth of film in the early 20th century all the way up until the late 1980s. Numerous cinematographers throughout that time period were cited in the film for their unique approaches to the art of cinematography. One of these cinematographers was Ernest Dickerson, who is best known for working with Spike Lee on films such as “Do the Right Thing” and “Malcolm X”. In “Do the Right Thing”, Dickerson plays with lighting and camera movements to great effect. It was noted in the documentary that Lee and Dickerson shot the entire film on one block in Brooklyn, and would shoot scenes based on the time of day. This meant that they relied heavily on natural sunlight, in addition to some artificial light, for the entirety of the movie. In doing this, Dickerson was taking a step in a different direction compared with other Hollywood films, which were filmed in studios and relied on artificial light almost exclusively. Furthermore, Dickerson creates tension with rapid shot-reverse-shot sequences in certain parts of dialogue in the film. This often occurs when two characters are yelling at each other, heightening the sense of conflict and confusion.
ReplyDeleteIn the 1992 documentary "Visions of Light," cinematography and it's development over time is discussed. Some of the greatest cinematographers of the 20th century are featured. one of the featured cinematographers was Bill Butler, cinematographer of Jaws, Grease and more. The film I chose was Jaws. My favorite scene cinematography wise was when Brody went back to Quint's and they went out to see the shark heading towards them.The musical score is used to intensify the shark heading towards them, and the way Butler uses space in the frame shows how large the shark is. The shark dominates the frame, making Brody and Quint look extremely small in comparison to the shark.
ReplyDeleteAs discussed in the 1992 documentary "Visions of Light", cinematography has long evolved itself over the annals of film history. Among the cinematographers highlighted during the documentary was Michael Chapman, who in 1980 was the director of photography for the Martin Scorsese film "Raging Bull". The film is depicted in black and white, with the exception of some in-universe home videos shot with the grainy colored cameras that were only partially available in the late 40s. This primarily monochromatic color scheme both serves to establish the film as a period piece of the late 40s-early 60s, as well as highlighting the ultimate shallow morality of protagonist Jake LaMotta. All the fight scenes are typically cut with quick shots and sound editing to highlight the blows of each punch, but each fight exhibit subtleties that pertain to Jake's personal path throughout the film. In his final fight with his rival Sugar Ray Robinson, at which point Jake has jealously alienated his family and has nearly ruined his fighting career, the initial shots are framed with medium shots as Sugar Ray beats an unmoved Jake. As Jake continues to taunt Sugar Ray and refuses to fight back, Ray's confusion turns to a desperate anger as the camera pans down, lowering the sound and slowing as his breathing calms in preparation. In this transition, the lights behind Ray give him a heavily contrasted angelic aura; meanwhile, behind Jake fog begins to swirl and the light contrast is much lower, giving him a more demonic sense and revealing the moral standings of both characters. In this, Jake is revealed cinematically to be the true villain of his story, the real arbiter of his suffering. Then when the fight picks up again, the music lifts and the shots become quick close ups of punching, bleeding and pain emphasized by camera flashes as Jake LaMotta makes his own history.
ReplyDeleteThe movie I chose for analysis was Mike Nichols' 1967 The Graduate, in which a college graduate named Benjamin Braddock is seduced by a close family friend's wife, but falls in love with their daughter. Robert Surtees was the director of cinematography and he used many interesting types of shots and compositions throughout the dramatic comedy. Throughout the entire opening sequence where Benjamin is returning home through his graduation party, the camera keeps a very tight close-up frame around his head to represent the claustrophobic feeling Ben is experiencing by all these people asking him what he wants to do with his life when all he wants is to be left alone. The first time the frame opens up is when Mrs. Robinson comes into his room, and he subconsciously takes it as the first chance to escape the pressure.
ReplyDeleteAnother interesting element that Surtees utilizes is the use of many jump cuts during times of Ben's emotional instability. For example, when he first sees Mrs. Robinson naked and is panicking and trying t o leave as quickly as possible. Another time is when Ben's father is trying to arrange him a date with Elaine, Mrs. Robinson's daughter and the girl she forced Ben to promise never to date. The camera jump cuts to flashes of Mrs. Robinson's disapproving face, symbolizing the fact that Ben knows he's doing something taboo but despite his weak protests has no way of getting out of.
There are also interesting types of framing throughout The Graduate, such as Ben being framed by Mrs. Robinson's leg as she seduces him, the exchange between Ben and the hotel clerk through a wood piece that represents Ben feeling pigeon-holed, and the framing of the bushes around Ben as he insecurely watches Elaine from a safe distance as she attends college.
Other elements of note that Surtees makes use of are the manipulation of shadows when the characters are doing something morally questionable, the Dutch angle when Mrs. Robinson is first stripping to show that Ben's world is askew, and the motif of water encased behind clear glass to represent Ben's feeling of entrapment.
The documentary Visions of Light discusses the changes and developments in cinematography throughout film history. Examples are included from various different cinematographers to depict the numerous different techniques that can be used in filmmaking. The shot that stood out to me showed a young woman glimpsing in the windows of a passing train as the people inside carry out their normal activities. It was a very simple shot, but I found the concept very interesting. The cinematographer for this scene was Oliver T. Marsh, who is known for working on many other films during the 1930s, including The Great Ziegfeld. During the Ziegfeld Follies performance, I noticed the extensive use of movement throughout the scene. The characters were doing many different dances at the same time, and all the while, the platform that they were positioned on revolved slowly. In addition to the on screen movement, the camera moved around almost undetectably, following the actions of different performers. The use of several different types of movement created an overwhelming hypnotic effect. Rather than focusing on one aspect of the performance at a time, the cinematography attempts to capture the full effect of the performance in every single shot.
ReplyDeleteThe 1992 documentary Visions of Light features several Dps who had their own very unique and creative style of cinematography that created amazing films. The movie I chose was Jaws (1975). I have seen the movie many times before but thought it would be interesting to watch such a classic movie through a different lens. By doing so I saw the extreme creativity of Bill Butler, the cinematographer, in a way I never considered before.
ReplyDeleteThe scenes that stuck out to me the most were the scenes that were supposed to invoke panic. The use of panic driven cinematography was especially prevalent in the beach scene, where the second shark victim is killed in the water. It was discussed in the documentary how the use of underwater and almost underwater shots were used to enhance the shark filled panic of the scene. Which is exactly how the attack begins here, with an underwater shot of the victim’s ;egs before the shark rips him underwater. The use of the shark’s POV before the attack actually began prepared the viewer for what was to come because of the use of a similar shot in the first attack,while also setting the ominous tone. Next came the zoom shot where sheriff Brady sits in a beach chair, watching over the waters as his wife massages his shoulders. He sits in the center of the frame and as he realizes what is happening to the victim the camera zooms in on his face slowly while the background of the shot seems to pinch and zoom out. This is quite similar to another movie discussed in the documentary where the background zooms in while the characters in the forefront of the camera stay the way they are. With the music peaking and the zoom a sense of “oh no” is relayed to the viewer quite effectively, while also developing sheriff Brady’s character as the only man who could stop the shark. Within the span of three minutes Bill Butler was able to create a movie long feeling of shark panic, develop characters, and highlight a key scene in the movie through his use of unique cinematography.