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Experienced in non-linear and live editing, digital cinematography/ photography and postproduction.
Cinematography. ... • Global Cinematography Institute, Level 1 Dec.
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24 Reading List Cinematography .............................................
Best Picture Arrival Hell or High Water Cinematography Directing Film Editing Production Design Sound Editing Sound Mixing Writing (Adapted Screenplay) Actor in a Supporting Role (Jeff Bridges) Film Editing| Writing (Original Screenplay) RT:
In addition to receiving a crash course on the technical skills required to use a camera and editing software, students will be introduced to key cinematic principles of storytelling, storyboarding, cinematography, copyright and editing.
A Nihilistic Observation on Ran Lawson Jiang January 15, 2015 TA: Isabelle Carbonell Section D (11:45am) Hoile, Christopher, “‘King Lear’ and Kurosawa's ‘Ran’: Splitting, Doubling, Distancing,” Pacific Coast Philology 22 1/2 (1987). Penn State University Press: 29–34, accessed January 15, 2016, doi:10.2307/1316655. Hoile compares and evaluates the similarities and differences between Shakespeare’s King Lear and Kurosawa’s Ran . Through comparing the plots of the two epic works, Hoile thoroughly presents to whom are interested in discovering the relationship between the two work, such as the character settings and the similaryetdifferent plot structure as he points out that “the test of the three arrows replaces the lovetest in King Lear, but it is not equivalent to it” (p.30). While a majority of the articles found during the research focus on addressing how Kurosawa’s film is similar to King Lear — with detailed analysis of each characters in Ran to their correspondents in King Lear — Hoile brings up something different that makes his work stands out among the rest of the analytical essays, the cinematography of the film. He, however, talks about the cinematography with only a sentence commenting that the camera is “an impassive and literally distant observer” (p.29). Although his comment should include a more elaborate analysis from the cinematographic aspect, the short comment establishes a brand new idea that Ran carries a nihilistic tone throughout the entire film. This notion is also addressed in Roger Ebert’s updated review1 published on his blog in October 1, 2000. Roger Ebert, “Ran Movie Review & Film Summary (1985),” Roger Ebert (blog), October 1, 2000, http://www.rogerebert.com/reviews/greatmovieran1985 The notion of Nihilism brought up by Hoile receives a more detailed and interesting interpretation in film critic Roger Ebert’s review. Ebert writes: Roger Ebert, “Ran Movie Review & Film Summary (1985),” Roger Ebert (blog), October 1, 2000, http://www.rogerebert.com/reviews/greatmovieran1985. There are two entries of review by Roger Ebert, the first was published in 1985 and the updated was in 2000. 1 Lawson Jiang 1 He [Kurosawa] uses several static cameras to film the action, cutting between them; because his cameras don't dart and whirl, we are not encouraged to think of ourselves as participants but as gods, observing, taking the long view here and then a closeup look. (One shot, of a man holding his own severed arm, no doubt inspired the similar shot in Steven Spielberg’s “Saving Private Ryan.”) Ebert’s observation well matches with Hoile’s view on cinematography; omniscient yet impassive. Ebert argues that the spectators play the role of witness instead of participant through static and medium shots. During the fiveminuteslong battle sequence, a soldier holding his mutilated arm serves as one of the example, whereas Taro and Saburo’s sudden deaths after the two separate battles should be marked as the notable agents representing Kurosawa’s nihilistic thoughts. Taro, who is on his horse, filmed from a lower angle and placed in the middle of the frame, is suddenly killed by an arrow. Taro’s sudden death shocks those who presume him to be the figure of victory after the cruel battle. At the end of the film, Saburo embraces the same destiny just like his eldest brother — killed by an arrow — when riding the horse with his father, Hidetora. Hidetora dies of heart attack soon after he discovers his son’s death. To those who are used to dramatic and the socalled meaningful ending (bad guys fail and die, for example), Ran ends with a tragic yet boring scene. The bads die, so as the good ones. However, Kurosawa’s casual depiction of the characters’ deaths should be considered as an astonishing representation of nihilism. In the nihilistic sense, one should understand and expect that there is no good or bad nor there is meaningful ending for an individual. Death is not worth to be dramaticized. Therefore, the constant use of steady, medium shots and the omitting of closeups in critical moments (such as the death scene) provide a godlike role to the spectators. Yet, a godlike role provides a limited perspective to the spectators that lacks the ability to predict what happens Lawson Jiang 2 next. Instead of predicting what will happen, the spectators can do little but witnessing the incidents on screen. Though the test of the three arrows emphasizes “the breaking of a bond not between the father and his sons but the bond between the sons themselves2”, once the bond between the sons breaks, so does the bond between the father and his sons. Nobody can help but to watch the whole family collapses all because of the sons’ greed that drives them to divide their father’s “spoils like dogs tearing at a carcass.” In the end, the nihilistic reading of Ran is a story about an old lord decides to abdicate which triggers a series of catastrophes, eventually lead to a chaotic3 dividing and the downfall of his clan. Mitsuhiro Yoshimoto, Kurosawa: Film Studies and Japanese Cinema (AsiaPacific : culture, politics, and society) (Durham, NC: Duke University Press, 2000), Chapter 28. Yoshimoto comments Kurosawa as a “‘magnificent yet tragic genius’ who makes a gargantuan effort to present dynamic and perfect images on the screen4” due to the “extreme generalization and abstraction” of Ran . Yoshimoto, just like Ebert and Hoile, holds a similar observation: The scarcity of closeups and the extensive use of long shots render even principal characters abstract figures and, by preventing the spectators’ identification with them, create the sense of detachment that positions the spectators as distant observers of a drama of massive destruction. Sue, Jiro’s wife, is supposedly beautiful, yet without a closeup of her face, the spectators are not allowed to judge whether there is any validity in the statement asserting her beauty. Hoile, Christopher, “‘King Lear’ and Kurosawa's ‘Ran’: Splitting, Doubling, Distancing,” Pacific Coast Philology 22 1/2 (1987). Penn State University Press: 29–34, accessed January 15, 2016, doi:10.2307/1316655. Hoile 3 The title of the film, Ran , means “chaos” in Japanese. 4 Masumura Yaszo, “Sodai ni shite hiso na tensai,” in Kurosawa Akira shusei, vol 1, 626. Originally published in Kinema junpo, part 2 (May 1974). 2 Lawson Jiang 3 Yoshimoto believes that Kurosawa’s focus on decor and sets “transforms the film into a transparent surface without any depth… without any illusion of psychological depth.” Consequently, Ran , in his perspective, is a film with mere visual surface that lacks detailed depiction of the characters. What makes a generic commentary on a film is to comment with a notion of “indepth portraying of character(s) makes a good movie,” which is coincidentally similar to the belief that superhero films ought to be packaged with a dark tone that expose the superhero’s dark side due to the commercial success of the Dark Knight Trilogy5. The idea of “darker tone means a more mature plot means a better film” triggers a flood of superhero productions with a universal tone in recent years, which has formularized the taste of the audience to appreciate only grimmer films. Similarly, the compulsive belief of determining a film by only the character depiction eliminates the possibility of reading a film with an alternative philosophical doctrine. Ran could be less comprehensive in characters as Yoshimoto notes; however, it is a masterpiece in representing nihilism as it conveys a strong sense of helplessness of being a mere observer. Christopher Nolan’s The Dark Knight Trilogy , in which consisted of Batman Begins (2005), The Dark Knight (2008), and The Dark Knight Rises (2012), emphasizes the selfexploration and change of Batman (played by Christian Bale) from an ordinary millionaire to a hero enforcing vigilante justice. The commercial success of the series establishes a new genre of films; superhero movies. The dark tone of the trilogy, therefore, has been seen and adapted as a model of superhero movies by the production companies. Superhero movies with darker tone has become more welcomed in recent years, such as Iron Man 3 (2013), Man of Steel (2013), Captain America: Civil War (2016) and Batman v Superman: Dawn of Justice (2016). Collider’s interview with Russo Brothers on their upcoming Captain America regarding the tone of the film can be found on YouTube: https://www.youtube.com/watch?v=imIj_6uLQ4 5 Lawson Jiang 4
IP Georgia interviewed the living classic and the author of over 50 film and theatre music on cinematography, music, copyrights and challenges of modern art.
Serpong, Tangerang Selatan +62 821 1209 5848 email@example.com Education 2008 - 2012 BINUS University Bachelor in Computer Science Interactive Multimedia Minor 2005 - 2008 SMAN 2 Tangerang Selatan Page 1 of 5 Diori Cergy Castali • 2014 Technical Proficiency Unity C# 3D Game Programming Adobe After Effects Motion Graphic Cocos2DX C++ 2D Game Programming Adobe Premiere Compositing Adobe Flash Actionscript 3.0 Programming Skeletal Animation Autodesk 3Ds MAX Animation Miscellaneous Game Cinematography Euler Based Movement Music Recording &
(630)-915-2613 Creative and motivated individual with a strong background in photography and cinematography, seeking employment in order to utilize my creativity, entrepreneurial drive, leadership ability, and teamwork skills in a professional environment.
A new award, ‘Filmmaker of the Future’ will be presented in 2016 Film of the Year Fiction Documentary Animation Directing Cinematography Acting Screenplay Editing Sound Editing Original Film Music Filmmaker of the Future (NEW) A DYNAMIC SLATE OF WORKSHOPS &
I was given full control over cinematography but worked closely with the clients to edit the videos to their desired result.
Although primarily a video editor, I also have several years of experience in on-set production, cinematography, lighting, and sound design.
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Locksmith ID LOGISTICS SONY (Tillburg, Netherland) Order Picker - Completing orders in stock - Laying of complete orders - Work in the system of voice -quality control, documentation in English 02.2014 - 01.2015 Hessing (Helmond, Netherlands) Operator of production -Production line worker salatek -Cutting vegetables and meat production needs -Caring for Occupational Health -Working at low temperatures -Operator of packaging machines 06.2015 - 02.2016 Boxik-Browar Elbląg, Poland Operator production Employee production of beer Control bottles approved for production Preparation of the finished product to delivery Languages English - advanced Italian - beginner Hobby football, automotive ,cinematography I agree to process my personal data for the recruitment process in accordance with the Law of 29.08.1997.
Screenplay, Directing, Acting, Cinematography, Production Design, Sound, Music and Editing • Selected Short Films Breakdown (Both local and foreign):
Education GRAPHIC DESIGN 09/2009-05/2013 SCHOOL OF FINE ARTS IN LODZ, POLAND Fine Artist - Technician (High school) CINEMATOGRAPHY 10/2014-10/2019 Master of Arts - Master (University) Film Editing, Camera Operating Techniques, Scenario Techniques, Photography, Direction Techniques, History of Art Visual advert, Photography, Sculpture, Painting, History of Art.
Led the team in winning many local awards for set design, art direction, TV direction, make-up design, wardrobe design, cinematography for various in-house productions.
Cultural centres, theaters, circuses https://gostperevod.com/shnk-4-13-21-06.html SHNK 4.13.22-06 in English - Cinemas https://gostperevod.com/shnk-4-13-22-06.html SHNK 4.13.23-06 in English - Service facilities of cinematography objects.
A Star Wars Story 13 Hours ORIGINAL SCREENPLAY Hell or High Water La La Land The Lobster Manchester by the Sea 20th Century Women ADAPTED SCREENPLAY Arrival Fences Hidden Figures Lion Moonlight CINEMATOGRAPHY Arrival La La Land Lion Moonlight Silence FILM EDITING Arrival Hacksaw Ridge Hell or High Water La La Land Moonlight VISUAL EFFECTS Deepwater Horizon Doctor Strange The Jungle Book Kubo and the Two Strings Rogue One: