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Keyword : Cinematography

1.

A personal survey of some of the more important contributions of the film interview format book.

2.

A tribute to the Hammer great Freddie Francis, cinematographer par excellence and director of countless horror films, including the film given extensive analysis here, The Creeping Flesh.

3.

An exploration of the art of fight choreography as defined by wuxia pan master King Hu.

4.

An intriguing look back at the on-set experiences of Jonathan Hourigan.

5.

A shot by shot, scene by scene breakdown of Pickpocket.

6.

A demonstration of the critical value of statistical analysis.

7.

The future finally looks bright for Bresson DVD enthusiasts. Burnett examines the follow-up Criterion Bresson release.

8.

Bresson's inimitable filmmaking style has its echo in his writing style.

9.

A two-part assessment of the critical discourse surrounding one of cinema's hallowed names, Bresson. Burnett concentrates much of his discussion on the unfortunately polarized views that are continually circulated concerning Bresson's cinematic-philosophical position as “Transcenendalist” or “Materialist”.

10.

A look at a documentary account of the life and art of one of cinema's greatest cinematographers, Sven Nykvist.

11.

Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's (The Sixth Sense, Unbreakable, Signs).

12.

Donato Totaro looks at Shyamalan's visual style in his extensive two-part analysis of Shyamalan's 'trilogy' (The Sixth Sense, Unbreakable, Signs).

13.

Offscreen presents an interview with Italian cinematographer Guiseppe Lanci, who has worked with such greats Andrei Tarkovsky, Nanni Moretti, and Marco Bellochio.

14.

Offscreen presents an interview with Italian cinematographer Guiseppe Lanci, who has worked with such greats Andrei Tarkovsky, Nanni Moretti, and Marco Bellochio. (Italian version).

15.

No one to be Missed, which in Zhang Yimou's words is one of my best movies, deals with a rural town's school drop-out problem. Zhang Yimou is a director known for having excellent work relations with his film crew.

16.

I have left for last the most powerful alienating effect on nature, Sokurov's use of special distorting lenses and mirrors that give the image an oblique, quivering feel. It is a unique form of distortion, one that has had many viewers baffled.


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ISSN 1712-9559.