DOCSLIB.ORG

Andy Hopkins GBCT Grip NVQ 3 Certified

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Andy Hopkins GBCT Grip NVQ 3 Certified Gravy Crew Ltd. t. +44 (0) 203 696 4600 e. [email protected] Diary Management Service Andy Hopkins GBCT Grip NVQ 3 Certified Andy is an experienced Key Grip on feature films, TV dramas and commercials. He is fully accomplished and up to date technically in all areas of his profession. Advanced NVQ Level 3 Certified Key Grip Andy can also offer a complete equipment hire service. Feature Films Production Director of Photography Director Additional Information School of Good and Evil David Mackie Melissa Stubbs Key Grip 2nd Unit Bond : No Time to Die Alexander Witt Alexander Witt Grip Action Unit Angel (UK) Robert Binnall Vick Armstrong Grip 2nd Unit The Kid Who Would Be King Shaun O'Dell Paul Jennings Best Boy Grip (2nd Unit) Overlord Robert Binnall Vic Armstrong Best Boy Grip (2nd Unit) American Assassin Robert Binnall Vic Armstrong Best Boy Grip (2nd Unit) Avengers: Infinity War Trent Opaloch Russo Bros. Best Boy Grip UK Dunkirk Hoyte Van Hoytema NSC Chris Nolan Best Boy Grip Europe, *(ES) FSF Jason Bourne V Barry Ackroyd BSC Paul Greengrass Key Grip Reshoots, *(ES) SPECTRE Hoyte Van Hoytema NSC Sam Mendes Best Boy Grip 2nd Unit FSF The Man From U.N.C.L.E. Harvey Harrison BSC Guy Ritchie Best Boy Grip 2nd Unit Avengers: Age of Ultron John Mahaffie Joss Whedon Best Boy Grip 2nd Unit Jupiter Ascending John Toll ASC The Wachowskis Best Boy Grip 2nd Unit Thor: The Dark World John Mahaffie Alan Taylor Best Boy Grip 2nd Unit Skyfall Alexander Witt Sam Mendes Best Boy Grip 2nd Unit Snow White and the Huntsman Josh Bleibtreu ASC Rupert Sanders Best Boy Grip 2nd Unit Wrath of the Titans Harvey Harrison BSC Jonathan Liebesman Best Boy Grip 2nd Unit Tinker Tailor Soldier Spy Hoyte Van Hoytema NSC Tomas Alfredson Additional Key Grip FSF Captain America: The First Jonathan Taylor ASC Joe Johnstone Dolly Grip 2nd Unit Avenger Harry Potter and the Deathly Eduardo Serra ASC AFC David Yates Dolly Grip Hallows - Part 1/2 Inception Wally Pfister ASC BSC Chris Nolan Camera Grip, *(ES) Shanghai Tim Wooster John Greaves Key Grip 2nd Unit, *(ES) Nottingham (Robin Hood) John Mathieson BSC Ridley Scott B Camera Grip Main Unit Creation Jess Hall BSC Jon Amiel Key Grip Main Unit, *(ES) Blind Man's Bluff: A Closed Book Ricardo Aronovich AFC Raoul Ruiz Key Grip Main Unit, *(ES) Production Director of Photography Director Additional Information Quantum of Solace Shaun O'Dell Dan Bradley Camera Grip 2nd Unit The Dark Knight: Batman Wally Pfister ASC BSC Chris Nolan Best Boy Grip, *(ES) His Dark Materials: The Golden Robert McLachlan Robert McLachlan Key Grip 2nd Unit, *(ES) Compass 1408 Tim Wooster John Greaves Key Grip 2nd Unit, *(ES) Children of Men Emmanuel Lubezki ASC Alfonso Cuaron Dolly Grip Main Unit AMC V for Vendetta Harvey Harrison BSC The Wachowskis Key Grip 2nd Unit UK, *(ES) Sahara Seamus McGarvey BSC Breck Eisner Camera Grip Main Unit ASC Sky Captain and the World of Eric Adkins Kerry Conran Best Boy Grip Tomorrow Wimbledon Darius Khondji AFC ASC Richard Longcraine Best Boy Grip *(ES) Tomb Raider II David Tatersall BSC Jan de Bont Dolly Grip Main Unit I'll Be There Ian WIlson BSC Craig Ferguson Key Grip Main Unit, *(ES) Below Ian WIlson BSC David Twohy Key Grip Main Unit, *(ES) Copenhagen Ian Wilson BSC Howard Davies Key Grip Main Unit Possession Jean-Yves Escoffer Nail LaBute Camera Grip Man and Boy Tim Palmer BSC Simon Curtis Key Grip Main Unit, *(ES) Chronicles of Riddick Ian WIlson BSC David Twohy Key Grip UK, *(ES) Proof of Life Slawomir Idziak Taylor Hackford key Grip 2nd Unit, Ecuador Love's Labour's Lost Alex Thompson BSC Kenneth Branagh Camera Grip Eyes Wide Shut Larry Smith BSC Stanley Kubrick Camera Grip TV Drama Title Director of Photography Director Additional Information Anatomy of a Scandal Balasz Bolygo S J Clarkson Key Grip The Great S1 John Brawley / Maja Various Key Grip *(ES) Zamojda The Rook (Re-shoots) Oliver Curtis TBC Key Grip Wild Bill Balasz Bolygo Charles Martin Key Grip The Rook PJ Dillon / Balazs Bolygo / Kari Skogland / Sunu Key Grip *(ES) Gavin Struthers / David Gonera / Rebecca Raedecker Johnson / China Moo- Young / Sunu Additional Information *Equipment Supplier (ES) Equipment Full equipment list / quote on request.
Load more

Recommended publications
  • Métier : Directeur De La Photo
    Métier : Directeur de la photo Livre 1.indb 1 28/11/2013 10:39:23 VilMoS ZSiGMond CHriSTopHer doyle MiCHael BallHauS JaMeS wonG Howe ed laCHMan rodriGo prieTo CaleB deSCHanel raoul CouTard ViTTorio SToraro CHriS MenGeS dion BeeBe JaCk CardiFF owen roiZMan Barry aCkroyd ellen kuraS SVen nykViST peTer SuSCHiTZky SeaMuS MCGarVey JaVier aGuirreSaroBe MaTTHew liBaTiQue Freddie younG X-FCVN-LVBK-001-007-US.indd 2 02/08/2011 15:38 Mike Goodridge et Tim Grierson Métier : Directeur de la photo Quand les maîtres du cinéma se racontent Traduit de l’anglais par Jean-Louis Clauzier et Laurence Coutrot 9782100705016-Goodridge-001-005.inddX-FCVN-LVBK-001-007-US.indd 3 3 28/11/201302/08/2011 13:50:32 15:38 L’édition originale de cet ouvrage a été publiée en 2012 au Royaume-Uni par ILEX sous le titre FilmCraft: Cinematography Copyright © 2012 The Ilex Press Limited 210 High Street Lewes East Sussex BN7 2NS © Dunod, Paris, 2014 pour la traduction française ISBN 978-2-10-070501-6 Traduction : Jean-Louis Clauzier et Laurence Coutrot Révision du texte français : Emmanuel Dayan Couverture : Misteratomic Mise en page : Arclémax Imprimé en Chine Toute représentation ou reproduction intégrale ou partielle faite sans le consentement de l’auteur ou de ses ayants droit ou ayants cause est illicite selon le Code de la propriété intellectuelle [Art. L 122-4] et constitue une contrefaçon réprimée par le Code pénal. Seules sont autorisées [Art. L 122-5] les copies ou reproductions strictement réservées à l’usage privé du copiste et non destinées à une utilisation collective, ainsi que les analyses et courtes citations justifiées par le caractère critique, pédagogique ou d’information de l’œuvre à laquelle elles sont incorporées, sous réserve, toutefois, du respect des dispositions des articles L 122-10 et L 122-12 du même Code, relatives à la reproduction par reprographie.
    [Show full text]
  • Tom Kerwick Key Grip
    Tom Kerwick Key Grip ----------------------------------------------------------------------------------------- 122 Stethem Dr. Centereach, NY 11720 516-662-7655 E-mail: [email protected] Qualifications: 30 years experience as grip on motion pictures, Episodic TV, and commercials. Member of Local 52 IATSE Work History: Criminal Justice (2012) Key Grip Director: Steven Zaillian Director of Photography: Robert Elswit Gotham (2012) Key Grip Director: Francis Lawrence Director of Photography: Jo Willems The Avengers (2011) Key Grip NY Director: Joss Whedon Director of Photography: Seamus McGarvey Lola Versus (2011) Key Grip Director: Daryl Wein Director of Photography: Jakob Ihre Being Flynn (2011) Key Grip Director: Paul Weitz Director of Photography: Declan Quinn We need To talk about Kevin (2010) Key Grip Director: Lynne Ramsay Director of Photography: Seamus McGarvey The Beautiful Life - TV Series(2009) Key Grip Directors: various Director of Photography: Craig DiBona Twelve (2009) Key Grip Director: Joel Schummacher Director of Photography: Steve Fierberg Everyday (2009) Key Grip Director: Richard Levine Director of Photography: Nancy Schreiber Private Lives of Pippa Lee (2008) Key Grip Director: Rebecca Miller Director of Photography: Declan Quinn Rock On (2008) Key Grip NY Director: Todd Graff Director of Photography: Eric Steelberg For One More Day (2007) Key Grip Director: Lloyd Kramer Director of Photography: Tami Reiker Babylon Fields- TV (2007) Key Grip Director: Michael Cuesta Director of Photography: Romeo Tirone The Bronx is
    [Show full text]
  • ASC 100Th Reel 30-Second
    E.T.: The Extra- John Seale, ASC, ACS Terrestrial (1982) Allen Daviau, ASC Enter the Dragon (1973) The Gold Rush (1925) Gil Hubbs, ASC Roland Totheroh, ASC The Godfather (1972) Citizen Kane (1941) Gordon Willis, ASC Gregg Toland, ASC ASC 100th Reel 30-Second The Tree of Life (2011) Apocalypse Now (1979) Clip Playlist Emmanuel Lubezki, ASC, Vittorio Storaro, ASC, AIC AMC The Dark Knight (2008) Link to Video here. Taxi Driver (1976) Wally Pfister, ASC Michael Chapman, ASC Close Encounters of the Kill Bill Vol. 1 (2003) Third Kind (1977) The Matrix (1999) Robert Richardson, ASC Vilmos Zsigmond, ASC, Bill Pope, ASC HSC King Kong (1933) Jurassic Park (1993) Edward Linden; J.O. Blade Runner 2049 Dead Cundey, ASC Taylor, ASC; Vernon L. (2017) Walker, ASC Roger Deakins, ASC, BSC Braveheart (1995) John Toll, ASC Star Trek (1966) Gone With the Wind "Where No Man Has (1939) The French Connection Gone Before" Ernest Haller, ASC (1971) Ernest Haller, ASC Owen Roizman, ASC Sunrise (1927) Footloose (2011) Charles Rosher, ASC Game of Thrones (2017) Amy Vincent, ASC Karl Struss, ASC “Dragonstone” Gregory Middleton, ASC Sunset Boulevard (1950) Titanic (1998) John F. Seitz, ASC Russell Carpenter, ASC The Sound of Music (1965) Psycho (1960) The Graduate (1967) Ted D. McCord, ASC John L. Russell, ASC Robert Surtees, ASC The Wizard of Oz (1939) For more background Singin’ in the Rain (1952) Harold Rosson, ASC on the American Harold Rosson, ASC Society of Rocky (1976) Cinematographers, The Color Purple (1985) James Crabe, ASC go to theasc.com. Allen Daviau, ASC Frankenstein (1931) Empire of the Sun (1987) Arthur Edeson, ASC Allen Daviau, ASC Platoon (1986) Black Panther (2018) Robert Richardson, ASC Rachel Morrison, ASC Mad Max: Fury Road (2015) .
    [Show full text]
  • Director of Photography / Cameraman / Camera Operator
    PETER FIELD, ACO / GBCT Director of Photography / Cameraman / Camera Operator Selected credits Feature Films / High End T.V. 2017 ROGUE ONE – A STAR WARS STORY Disney / Lucas Film Gareth Edwards Action Unit A Camera Operator Simon Crane STARWARS VIII Disney / Lucas Film Rian Johnson 2nd Unit A Camera Operator WONDER WOMAN Atlas Entertainment Patty Jenkins 2nd Unit Camera Operator Damon Caro 2016 DOCTOR STRANGE Marvel Studios Scott Derrickson 2nd Unit Camera Operator Jeff Habberstad THE HUNTSMAN WINTER’S WAR Roth Films Cedric Nicolas-Troyan 2nd Unit Camera Operator Simon Crane BOURNE 5 Universal Pictures Paul Greengrass 2nd Unit Camera Operator Simon Crane NEW BLOOD Eleventh Hour Films Anthony Philipson 2nd Unit D.O.P 2015 SPECTRE – JAMES BOND 007 Eon Productions Sam Mendes 2nd Unit Camera Operator Alexander Witt 2014 MISSION IMPOSSIBLE : 5 Paramount Pictures Christopher Mc’Guirre 2nd Unit Camera Operator Greg Smrz MARCO POLO Netflix / Weinstein Co. John Maybury Action unit D.O.P. Eps. 8 & 10 Chris Forster URBAN AND THE SHED CREW Circadian Pictures Ltd Candida Brady D.O.P. 2013 THE SECRET SERVICE 2013 / 14 Twentieth Century Fox Matthew Vaughn 2nd Unit A - Camera Operator Brad Allen OUR ROBOT OVERLORDS Pinewood Films No. 6 Jon Wright A – Camera Operator / 2nd Unit D.O.P. SHERLOCK SER. 3 Hartswood Films / BBC Jeremy Lovering 2nd Unit D.O.P. THE LAST MAN SuperSuperSuper Films Gavin Rothery Short Film D.O.P. EDGE OF TOMORROW Warner Brothers Doug Liman 2nd Unit A - Camera Operator / Main Unit Re-shoots A - Camera Operator Simon Crane 2012 FAST and FURIOUS 6 Universal Pictures Justin Lin Intrinsic-london.com Rob Little & Jarek Zapora, 71-75 Shelton Street, London WC2H 9JQ 020 7470 8712 or [email protected] 2nd Unit Camera Operator Spiro Razatos MALEFICENT Walt Disney Robert Stromberg 2nd Unit A - Camera Operator Simon Crane SKYFALL Eon Productions Alexander Witt 2nd Unit Camera Operator ISOLATED MGI London Ltd Murray Gough D.O.P.
    [Show full text]
  • Friendly Fire, It's Only Natural to Pranica Praise Its Director the Most
    Note: This show periodically replaces their ad breaks with new promotional clips. Because of this, both the transcription for the clips and the timestamps after them may be inaccurate at the time of viewing this transcript. 00:00:00 Music Music Tense string music. 00:00:01 Adam Host When we watch a great film on Friendly Fire, it's only natural to Pranica praise its director the most. It's easy to do, and every critic does it, from the film reviewers in the newspaper to the Academy of Motion Picture Arts and Sciences. But you and I, and those same directors, all know that it takes a video village to bring a film from the page to the screen to the stage accepting an award. Personally, I think it's the editors that get the shortest shrift in these cases. But the person who's often just as responsible as a director for how a film looks and feels is the cinematographer. Which is what makes the partnership between they and the director so crucial in filmmaking. If a director is lucky, they form a bond with one for most of their oeuvre. Paul Thomas Anderson and Robert Elswit. Spielberg and Janusz Kamiński. Christopher Nolan and Wally Pfister. And sometimes you'll get some cinematography polyamory. Oliver Stone, Quentin Tarantino, and Martin Scorsese share Robert Richardson. Of course a counterpoint to this film paper is that Kathryn Bigelow has worked with many different cinematographers over the years. Roger Deakins, on camera for Sam Mendes's 1917, is widely considered to be one of the greatest and most influential cinematographers in the history of film.
    [Show full text]
  • Westminsterresearch the Artist Biopic
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies.
    [Show full text]
  • Bob Oei Thesis Final Final
    ABSTRACT The Cinematography of Closet Memories Robert Oei, M.A. Advisor: Christopher J. Hansen, M.F.A. The cinematography of a film heavily influences the audience’s mood and their perception of tension. The way a director of photography uses lights and the camera can enhance or destroy the moments of a film a director has built. Keeping this knowledge in mind, the cinematography of Closet Memories uses film noir lighting, a mixture of handheld and smooth camera work, and other techniques to maintain the emotional content of the film’s scenes. The Cinematography of Closet Memories by Robert Oei, B.A. A Thesis Approved by the Department of Communication David W. Schlueter, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved by the Thesis Committee Christopher J. Hansen, M.F.A., Chairperson James Kendrick, Ph.D. DeAnna M. Toten Beard Ph.D. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School Copyright © 2013 by Robert Oei All rights reserved TABLE OF CONTENTS Chapter One: Introduction ..................................................................................................1 Chapter Two: Literature Review .........................................................................................6 Chapter Three: Methodology .............................................................................................14 Scene 1 and 2 ........................................................................................................15
    [Show full text]
  • Wmc Investigation: 10-Year Analysis of Gender & Oscar
    WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S.
    [Show full text]
  • • ASC Archival Photos
    ASC Archival Photos – All Captions Draft 8/31/2018 Affair in Trinidad - R. Hayworth (1952).jpg The film noir crime drama Affair in Trinidad (1952) — directed by Vincent Sherman and photographed by Joseph B. Walker, ASC — stars Rita Hayworth and Glenn Ford and was promoted as a re-teaming of the stars of the prior hit Gilda (1946). Considered a “comeback” effort following Hayworth’s difficult marriage to Prince Aly Khan, Trinidad was the star's first picture in four years and Columbia Pictures wanted one of their finest cinematographers to shoot it. Here, Walker (on right, wearing fedora) and his crew set a shot on Hayworth over Ford’s shoulder. Dick Tracy – W. Beatty (1990).jpg Directed by and starring Warren Beatty, Dick Tracy (1990) was a faithful ode to the timeless detective comic strip. To that end, Beatty and cinematographer Vittorio Storaro, ASC, AIC — seen here setting a shot during production — rendered the film almost entirely in reds, yellows and blues to replicate the look of the comic. Storaro earned an Oscar nomination for his efforts. The two filmmakers had previously collaborated on the period drama Reds and later on the political comedy Bullworth. Cries and Whispers - L. Ullman (1974).jpg Swedish cinematographer Sven Nykvist, ASC operates the camera while executing a dolly shot on actress Liv Ullman, capturing an iconic moment in Cries and Whispers (1974), directed by friend and frequent collaborator Ingmar Bergman. “Motion picture photography doesn't have to look absolutely realistic,” Nykvist told American Cinematographer. “It can be beautiful and realistic at the same time.
    [Show full text]
  • British Society of Cinematographers
    Best Cinematography in a Theatrical Feature Film 2020 Erik Messerschmidt ASC Mank (2020) Sean Bobbitt BSC Judas and the Black Messiah (2021) Joshua James Richards Nomadland (2020) Alwin Kuchler BSC The Mauritanian (2021) Dariusz Wolski ASC News of the World (2020) 2019 Roger Deakins CBE ASC BSC 1917 (2019) Rodrigo Prieto ASC AMC The Irishman (2019) Lawrence Sher ASC Joker (2019) Jarin Blaschke The Lighthouse (2019) Robert Richardson ASC Once Upon a Time … in Hollywood (2019) 2018 Alfonso Cuarón Roma (2018) Linus Sandgren ASC FSF First Man (2018) Lukasz Zal PSC Cold War(2018) Robbie Ryan BSC ISC The Favourite (2018) Seamus McGarvey ASC BSC Bad Times at the El Royale (2018) 2017 Roger Deakins CBE ASC BSC Blade Runner 2049 (2017) Ben Davis BSC Three Billboards outside of Ebbing, Missouri (2017) Bruno Delbonnel ASC AFC Darkest Hour (2017) Dan Laustsen DFF The Shape of Water (2017) 2016 Seamus McGarvey ASC BSC Nocturnal Animals (2016) Bradford Young ASC Arrival (2016) Linus Sandgren FSF La La Land (2016) Greig Frasier ASC ACS Lion (2016) James Laxton Moonlight (2016) 2015 Ed Lachman ASC Carol (2015) Roger Deakins CBE ASC BSC Sicario (2015) Emmanuel Lubezki ASC AMC The Revenant (2015) Janusz Kaminski Bridge of Spies (2015) John Seale ASC ACS Mad Max : Fury Road (2015) 2014 Dick Pope BSC Mr. Turner (2014) Rob Hardy BSC Ex Machina (2014) Emmanuel Lubezki AMC ASC Birdman or (The Unexpected Virtue of Ignorance) (2014) Robert Yeoman ASC The Grand Budapest Hotel (2014) Lukasz Zal PSC & Ida (2013) Ryszard Lenczewski PSC 2013 Phedon Papamichael ASC
    [Show full text]
  • Org Ayuntamiento
    Desde hace ya cinco años, Madrid cuenta con un Festival Internacional de Documentales que atrae a un gran número de espectadores y es, a la vez, foro y lugar de encuentro para los profesionales del género. Un género, el cine de no ficción, que abarca una enorme variedad de propuestas, desde las puramente estéticas e innovadoras, hasta las que promueven enfoques de mayor calado, que evidencian las más variadas realidades sociales, culturales, artísticas o medioambientales. 6 En su edición de 2008, y como ya es habitual, Documenta tiene su principal foco de interés en su Sección Oficial. En ella, junto a las proyecciones de películas en sus dos formatos, corto y largometraje, en los que prima la originalidad, habrá un concurso de reportajes, que valorará especialmente el tratamiento y la presencia de la actualidad. Pero, además, el festival se nutrirá de sus siempre enriquecedoras secciones informativas. En ellas, destaca el homenaje a la figura de Michelangelo Antonioni, el enigmático cineasta, escritor y pintor italiano, célebre autor de la trilogía La aventura, La noche y El eclipse, que tanto dio que hablar a los cinéfilos españoles a comienzos de los sesenta, y sorprendente creador, más tarde, de Blow-up. Antonioni fue un gran innovador del cine y cultivó el género documental, a pesar de que su obra en este campo es prácticamente desconocida. Para tratar de rescatar del olvido esta valiosa faceta, se proyectarán algunos de sus trabajos. Muy vinculado a la mejor etapa de Antonioni, se ha programado también otro ciclo retrospectivo, Recuerdos del 68, con películas que evocarán los movimientos sociales y políticos del período, así como los sucesos de Mayo del 68 en París, coincidiendo con su 40 aniversario.
    [Show full text]
  • Story Development in Cinematography. In: Talking Shop, July 4-5, 2011, BFI Southbank, London, UK
    Citation: Anderson, L (2011) Story Development in Cinematography. In: Talking Shop, July 4-5, 2011, BFI Southbank, London, UK. Link to Leeds Beckett Repository record: https://eprints.leedsbeckett.ac.uk/id/eprint/726/ Document Version: Conference or Workshop Item (Accepted Version) The aim of the Leeds Beckett Repository is to provide open access to our research, as required by funder policies and permitted by publishers and copyright law. The Leeds Beckett repository holds a wide range of publications, each of which has been checked for copyright and the relevant embargo period has been applied by the Research Services team. We operate on a standard take-down policy. If you are the author or publisher of an output and you would like it removed from the repository, please contact us and we will investigate on a case-by-case basis. Each thesis in the repository has been cleared where necessary by the author for third party copyright. If you would like a thesis to be removed from the repository or believe there is an issue with copyright, please contact us on [email protected] and we will investigate on a case-by-case basis. Story Development in Cinematography Larra A. Anderson Leeds Metropolitan University, United Kindgom Section: How do we Frame it? Teaching Camera & Production Design Abstract First off, I’ve got to argue for the use of the word “cinematography” over “camera”. One is to utilize a word I would like to further unpack. Another is to utilize a word that simply implies a relationship to another art form entirely – photography.
    [Show full text]