By Jeremy Vineyard
A one-stop encyclopedia of visible storytelling options for administrators, storyboard artists, domestic video lovers, or a person who easily desires to examine extra approximately how video clips are made.
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Additional resources for Setting up your shots : great camera moves every filmmaker should know
Bigelow’s films are produced within Hollywood’s mainstream film industry context, with a crew. p65 34 15/10/2002, 10:23 AM Part 1: Refocusing History and Theory 35 theory of “author-name” authorship, and her work confounds this argument. Obviously she works with other people on her films, but she appears to have managed to work with and for empathetic people (and I don’t mean in a cosy sense). Although Point Break was not, to begin with, a personally initiated project, she was the director the producers kept returning to when they were setting up the film’s production.
12 The original suggestion that the filmmaker should be an auteur was a matter of policy, not of theory: it was about the desire for a cinema of selfexpression, a generational revolt on the part of the young Cahiers du cinéma critics, who were demanding a break with the persistently traditional mainstream French cinema, which they saw as heavy, entrenched, and tied to the wordiness of the theatre-inspired script. They spoke about auteurs because they desperately wanted to claw the creative centre away from the writers of these scripts.
What all the films have in common is an attempt to see differently – to see, as far as possible, outside of the constraints of prior Western modes. 10 These films offer opportunities to examine how looking is conceived, what looking is possible, what boundaries there are to looking relations, and how White body stereotypes are contested yet cause inter- as well as intrapersonal conflict. 11 All of the films challenge normative spectator-screen relations: these films confront the spectator with unfamiliar worlds as well as with unfamiliar perspectives on these worlds.
Setting up your shots : great camera moves every filmmaker should know by Jeremy Vineyard