Welcome to Week 2 of the Hulu Film School Summer! This week we celebrate the work of photography with a playlist of movies to use the framework as a canvas to evoke emotion and meaning. Cinematography lesson this week, we have a memorable scene selected from each film and commented on its visual style.
Mandatory display:
1) Jiro Dreams of Sushi
Camera: David Yellow
How to introduce the sushi, the film advance, film David Yellow on Jiro Dreams of Sushi is a work of art. Throughout the film used Amber various visual tricks to prepare the ground. A fisheye lens is only used to add any blur dream, the events around. Macro shots makes each piece of sushi in a minimalist masterpiece pots and add a slow that even the simplest actions level high.
In this scene, we follow the fish broker Jiro inspect and select the best pieces of fish to the camera title table.The Jiro in the dispenser at a slight angle, which we assumed to take a higher authority and Beyond the dealer and slide to the caucus other fisheries workers. The constant movement through the scene along
with the sights and sounds of the voltage and the fish auction building anticipation, the transformation of the process of buying fish in a tribal ceremony.
- Kelly Lin
2) Night of the Living Dead
Camera: George A. Romero
Projecting his influence on the overall popular culture, the "Night of the Living Dead" George A. Romero is an icon of horror and seeds zombie movie. In addition to his duties as a director, producer and co-writer, Romero is also a director of photography, with stunning photography in black and white to create a claustrophobic tension was thick, while newsImage emulate simultaneously to a disturbing sense of create immediacy.
Later in the film, such as the disintegration of the group is taking shape, scrapie camera work captures the strife, despair and fear of direct survivors angle and high contrast portraits of terror. The battle between Ben (Duane Jones) and Harry (Karl Hardman), in particular, shows not only a fight to the death against the hand, but also a review of our worst tendencies in times of distress and terror, n 'every price , it's every man for himself Meanwhile, the undead -. shuffling and moaning empty eyes - are in their relentless death march Unified survivors and against humanity in general ..
- Naveen Singh
3) History of Tokyo
Cameraman: Atsuta Yūharu
Ozu direction, camera history Yūharu Atsuta Tokyo is carefully made: low angle, camera movement and shots that made it very square corners. The result is the creation of a sense of visual order seems to be the quiet drama of the film reflect a pair of aging visiting your adult Tokyo, most of whom are too busy to spend real time with their parents.
Consider this introductory scene, arriving in the parents. Suggest Cinematography order as the drama its course compositions perfectly square and low angle beautifully maintained house - spaces that material things and people with the same efficiency. But the same square box seems our characters into the trap, and reflects the drama of the film. Children of elderly couple as the inexorable drift of life for parents and their children move increasingly from each other. There is a "natural" drift and "order" which finds its visual equivalent balanced picture frame Atsuta. But it is also a choking, almost oppressive quality in the theater and cinema.
Christopher Rowe
4) L'Avventura
Camera: Aldo Scavarda
The rich and bored by their unconventional composition and long takes in Antonioni's L'Avventura defined. Like a mystery with no clear solution, your approach to missing women case between Anna's friend Sandro change Anna and her best friend banned, Claudia. And its leisurely pace and visual arts as a Canvas Art: Everyone always says a story.
In the first 10 minutes, we see Anna in bed with Sandro, who has not seen for a month in the right corner of the frame. How eagerly for the neck with kisses, he does not know that his eyes into the distance, looking as if the walls of the room are much more interesting, right now. Unbalanced composition in combination with the individual look of Anna fact that the viewer feel a bit isolated and empty.
Then the scene cuts to her best friend Claudia, Anna was waiting outside the house and Sandro. However, it is curious looks around at everything and closes the door and then leaves. Curiosity of Claudia contrasting with the coldness of Anna, foreshadowing what was to come in the dynamics between the two best friends.
- Sheila Selig
5) City Lights
Camera: Roland Totheroh
Sometimes the simple tuning can be most effective. In this final scene, Charlie Chaplin Tramp finds his long lost love, a woman sells flowers dazzle has recently cured of his blindness. The scene stands out in the Roland Photo insistence on holding Totheroh stills for a long time to show the changes of the actors of emotion.
In a recording, we see the face of change in the daughter of sympathy for the rover, shocks to the realization that the tramp was making his heroes from the past, worry that is not pretty wealthy man she believes, finally, compassion that is as neglected state. This plan is later by a shot as emotional, where fellow hikers followed cautiously to the girl in the nervousness and slowly breaks into a smile. For the first time in the film, the girl can finally see the tramp of person he is, but still accept it? Anyway, easy shooting of our film makers that the real purpose of the scene, the actor is placed at the top.
- Kelly Lin
6) Pi
Cinematographer Matthew Libatique
"It's crazy, Max" "Or maybe it's a genius."
Pi is looking to order for a man in our crazy world. Max leads a life of solitude in order to spend the choice to most his time holed up in his small apartment, rarely pursues human interaction. Close, intimate strokes give us the same feeling of confinement Max feels in your world and in your mind. Trembling and shaking camera movements, turning to us. Raging out of control in, right with max Additional confusion is through the film in black and white, cereal, grain, sharp edges and shadow, reminds supplies to the German Expressionism of the early 20th century.
In the previous scene, Max is a game of "Go" with his mentor Sun, you will see the empty shell "Go" as an example of the endless possibilities of our world. Max countered with the insightful observation game is played, the possibilities are always predictable and ultimately over. General of the Commission's plans give us an angle of batteries in this wide world. Plans stones "Go" is repeated throughout the film, ask the audience this symbolic imagery.
-Jonathan Katz
7) The 400 Blows
Camera: Henri Decaë
Film Les 400 Coups has a playful quality, but the patients that reflects the soul of its protagonists early, Antoine, the playful François Truffaut is as a replacement for the ailing manager but. What the public sees what the world sees is Antoine shows character and actions are Antoine.
Consider a long shot after a group of students as they walk in single file around Paris. The plan follows that one after the other, without authoritarian regime of his greedy master escape each child. The camera angle, his precarious position on a high point of view, and how he cranes are all children suggest a quality home Sided - how can a child to observe the scene. , The duration of the filming, however, with patience of the viewer - this is a long shot, that due to the low level of development, to be played to cut the jaw at once without. He reached for the tragic and comic paradoxes of Antoine as a character. This is a child facing with a playful sensibility adult situations. He wants to be just a kid, but was immersed in a world in which it is impossible to escape the responsibility of adulthood.
Christopher Rowe
Required reading:
1) A feast for the eyes: the decomposition of Cinematography "Jiro Dreams of Sushi"
Visit Hulu Film School summer to see the full versions of the films and learn more about this project!
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