The Genius of Moving Image (PART 2)

1. What is the role of the cinematographer in filmmaking?The cinematographer is a role made up of two key elements, he is the visual aid of guiding the audience through the film how the director evisioned it and also controls the lighting and composure to form the story.

2. Why did director Roman Polanski insist on using hand-held camera in the film China Town?
Polanski prefered to use a hand held camera to shoot the film because it created an intimate moment. He wanted that ‘voyeuristic’ look. Also it was much easy to handle and control and he was able get different angled shots, made everything alot easier to shoot.

3. Name two films which use colour in a symbolic way and describe what they suggest

- Days Of Heaven (1978)- Directed by Terrence Malick.

This film was filmed only using natural lighting, and even when the sun sets he still liked the skys magical soft light (just light and no sun) this only lasted about 25 minutes but he filmed scenes in this time to give it a more beautiful touch.

- Goodfellas (1990) - Director Martin Scorsese
Goodfellas is a typical example of strong use of colour, throughout the whole film evidently is the colour red. It can be associated with blood, sex, violence, suffering, and passion. All strong key elements of the film and its represented through a red tone works very well to set the mood of the movie.

4. In the film 'Raging Bulls' why was the fight scene filmed at different speeds?

It was filmed at different speeds because it could control the audience's feelings, drawing emotion where intended and slowing it down so you could feel what the character himself was feeling.

5. Who is the cinematographer for the film Apocalypse Now and what is his philosophy?
Vittorio Storara is the cinematographer for the film Apocalypse Now. He wanted to create contrasts with the lighting and believes that photography is a single art, like painting or writing just that cinematography is a common art because several people are involved with it with the director leading the way.

The Genius of Moving Image (PART 3)

1. How did Bjork and Chris Cunningham collaborate on the 'All is full of Love' video?
Chris Cunningham and Bjork were introduced through friends in London, he loved the track and had different visions for it himself as Bjork wanted a 'mini film' in the form of a music video
Bjork and Cunningham first met through friends in London. He loved the track and wanted to create a different vision. Bjork had her own visions of what she thought the video should include. Cunningham came up with some suggestions and Bjork loved them because Chris always loved things to do with engineering and robots he came up with the idea of the video and she loved it. 

2. What techniques were used on the 'Portishead' video to create the unusual slow motion effects?
The young boy and woman in this video were placed underwater and filmed floating. This helped to create the slow motion hair movements, and distortion of clothes and faces. They were then superimposed onto an alleyway-street scene without the water, to make them appear like they were floating.

3. What other music video directors have gone onto direct feature films they have made?
A good example of this would be David Fincher who came from working directing in music videos to directing dark, stylish feature films for example 'Seven' and 'Panic Room' he directed and was involved in many more.

4. Which famous sci-fi film did Chris Cunnigham work on before he became a director?
He worked on a film called 'A.I.' before leaving to pursue a career as a director.

5. What makes his work different or original compared to other similar directors?
Having worked as a special effects artist in the film industry it gives him an edge to what is possible and can expand on normal expectations. He also edits them in a strange, errie way works with sound for that creepy edge to it. He works continously for a long time to exceed his own expections and pushes himself towards a new direction.

The Genius of Photography (PART 6)

1. How many photographs are taken in a year?
80 Billion photographs will be taken this year alone.

2. What is Gregory Crewdson 'Modus Operandi'?
Gregory has a disconnected relationship with photography conventions, instead he has his own art director and camera operator and they work together to recreate and portray a single photograph and work it much the same way has a movie. He is only interested in the actual image. He will to a series of multiple exposures and digitally combine to make final image, selling them approximately $60,000 each.

3. Which prints command the highest price and what are they called?
Photo prints are worth a lot more when the phoographer has made and developed it themselves closest to the time the picture was taken. The Pond Moonlight by Edward Steichen was the most expensive photograh ever sold, $2,600,000 was the final bidding price!

4. What is a fake photograph? Give an example and explain how and why it is fake.
You need the negatives of the photo to prove that they are not fake.

5. Who is Li Zhesheng and what is he famous for?
He was a red army news soldier, who was a photojournalist in the 1960s - early 70s who covered the Cultural Revolution.

6. What is the photographers 'Holy of Holies?'
British photographer Martin Parr joined to be a photojournalist in 1994 for a prestigious agency Magnum - known as the Holy of Holies. However his photos were said to be meaningless but he had to battle to bring his distinctive brand of photography into photojournalism.

7. How does Ben Lewis see Jeff Walls photography?
Ben Lewis thinks that Jeff's photography took photography back to the 19th century and did not re-invent but took it back to painting where everything is creative, the people and light contruct the meaning. He brought in theory elements, how men and women look at eachother and about racial stereo-typing.

8. Which famous photograph was taken by Frank Mustard?
'River Scene France' which was said to be taken by Camille Silvy a french photographer however it was actually taken by Frank Mustard. Camille Silvy aranged where the people should stand, changing the sky and leaves to be artifical but didn't actually take the photo just manipulated it.