Tag: cinematography

Can someone give Mr. Robot a lamp?

from the trailer for season 4 of The Americans Current great television dramas are dark. We don’t just mean in terms of content, like Mr. Robot or the extremely tense The Americans. They are, literally, dark. Vulture‘s Kathryn VanArendonk wrote a great column about this phenomenon and how this impacts our perception of the shows. … Continue reading “Can someone give Mr. Robot a lamp?”

from the trailer for season 4 of The Americans

Current great television dramas are dark. We don’t just mean in terms of content, like Mr. Robot or the extremely tense The Americans. They are, literally, dark.

Vulture‘s Kathryn VanArendonk wrote a great column about this phenomenon and how this impacts our perception of the shows. VanArendonk compares Halt and Catch Fire and Silicon Valley: both shows are set in the same sunny California region, but because Halt and Catch Fire looks constantly gloomier even in daytime, it registers as a more serious show. This problem compounds itself. We associate bright colors with comedy, and so dramas are rarely brightly colored anymore. Compare this with Mad Men even a few years ago – or any of the USA Network’s former crime shows with extremely bright skies.

This seems like a problem from the same well as the orange-and-teal color correction of blockbuster movies. Audiences want dramas and comedies, and the presentation of those genres becomes polarized and exaggerated.

What’s it like to be a woman in cinematography?

via Variety Much has been made about the unfortunately small pool of women directing in Hollywood and lack of the opportunities they are given. Things are even more dire for women in cinematography. According to Vulture, only 2% of cinematographers for major films are women, and none have ever been nominated for an Oscar in … Continue reading “What’s it like to be a woman in cinematography?”

via Variety

Much has been made about the unfortunately small pool of women directing in Hollywood and lack of the opportunities they are given. Things are even more dire for women in cinematography. According to Vulture, only 2% of cinematographers for major films are women, and none have ever been nominated for an Oscar in the entire 88 years of the Academy Awards.

To get a better sense of the state of the field, Vulture‘s Kevin Lincoln sat down with Natasha Braier, Maryse Alberti, and Rachel Morrison, three cinematographers of critically acclaimed films, and asked them about their experience in a male-dominated field. They dive into the difference in how they’re treated on-set by colleagues and especially how societal expectations about mothers and families restricts their work opportunities (DPs commitments for big films can last for months).

Morrison suggests that she’d rather be known for her work than for who she is – but also that the spotlight on women in cinematography is necessary as the field shifts. We hope we’ll get there too.

RIP Douglas Slocombe, prolific Indiana Jones cinematographer

Douglas Slocombe, one of the most adaptable cinematographers of the mid-20th century, died yesterday at 103. Unlike many cinematographers with a distinctive or showy style, Slocombe filmed his projects so closely to the vision of the material that his work was often almost invisible. His far-flung credits are a testament to how smoothly he fit … Continue reading “RIP Douglas Slocombe, prolific Indiana Jones cinematographer”

Douglas Slocombe, one of the most adaptable cinematographers of the mid-20th century, died yesterday at 103.

Unlike many cinematographers with a distinctive or showy style, Slocombe filmed his projects so closely to the vision of the material that his work was often almost invisible. His far-flung credits are a testament to how smoothly he fit into whatever slot he needed to fill: he began as a photojournalist and director of photography for 1940s and 1950s British comedies; he ended his career filming the Indiana Jones trilogy.

Slocombe retired in 1989, leaving behind films ranging from Jesus Christ Superstar to James Bond movie Never Say Never Again. We never even knew he had a hand in much of his filmography, which, given his style, might have been the goal all along.

Slocombe accrued a whopping 80 cinematography credits in 50 years, so we of course have a few in our collection. You might not see a signature Douglas Slocombe stamp on these films, but you’ll certainly see a well-shot movie.

The Man in the White Suit – HU DVD 583
The Great Gatsby (1974) – HU DVD 722
Raiders of the Lost Ark – HU DVD 3251
Indiana Jones and the Temple of Doom – HU DVD 3252
Indiana Jones and the Last Crusade – HU DVD 3253
A Run For Your Money – HU DVD 3923
The Titfield Thunderbolt – HU DVD 3925
The Lion in Winter – HU DVD 5348
Jesus Chris Superstar – HU DVD 5769
The Fearless Vampire Killers – HU DVD 6513
The Italian Job (1969) – HU DVD 10373
The Maids – HU DVD 10823

The Real Georges Méliès: Friday, November 18 from 4:30pm – 5:30pm Lower Level of the Library

The Real Georges Méliès Friday, November 18, at 4:30 pm American University Library Media Classroom Lower Level Discover the films of George Méliès, whose life and work structure the story of Martin Scorsese’s HUGO. Professor Despina Kakoudaki will present an overview of early cinema, show and discuss some of Méliès most beloved films, and screen … Continue reading “The Real Georges Méliès: Friday, November 18 from 4:30pm – 5:30pm Lower Level of the Library”

The Real Georges Méliès
Friday, November 18, at 4:30 pm
American University Library
Media Classroom
Lower Level

Discover the films of George Méliès, whose life and work structure the story of Martin Scorsese’s HUGO. Professor Despina Kakoudaki will present an overview of early cinema, show and discuss some of Méliès most beloved films, and screen Trip to the Moon (1902).

The Media Classroom is located in Media Services, on the lower level of the American University Library. Inquire at the Media Services desk and we’ll direct you to the screening room.

More Georges Méliès can be found here in Media Services:

Méliès le cinémagicien – DVD 540

The great train robbery and other primary works – DVD 551
A Trip to the Moon

The Magic of Méliès – DVD 554

Georges Méliès̀: first wizard of cinema (1896-1913) – DVD 4141

Landmarks of early film: Vol. 1 – DVD 6116
A Trip to the Moon

Saved from the flames: 54 rare and restored films – DVD 7271
Excelsior! Prince of Magicians

Chaos Cinema Parts 1 & 2

Chaos Cinema Part 1 from Matthias Stork on Vimeo. Chaos Cinema Part 2 from Matthias Stork on Vimeo. The video essay Chaos Cinema, administered by Indiewire’s journalistic blog PRESS PLAY, examines the extreme aesthetic principles of 21st century action films. These films operate on techniques that, while derived from classical cinema, threaten to shatter the … Continue reading “Chaos Cinema Parts 1 & 2”

Chaos Cinema Part 1 from Matthias Stork on Vimeo.

Chaos Cinema Part 2 from Matthias Stork on Vimeo.

The video essay Chaos Cinema, administered by Indiewire’s journalistic blog PRESS PLAY, examines the extreme aesthetic principles of 21st century action films. These films operate on techniques that, while derived from classical cinema, threaten to shatter the established continuity formula. Chaos reigns in image and sound. Part 1 contrasts traditional action films with chaotic ones and takes a close look at the “sound” track, especially its use in car chases.