Camera movement is an essential piece of a film’s cinematography, and can often become part of a director’s authorial presence. Think Kubrick’s long tracking shots or Fincher’s subjective camera. However, such movement can often defy the narrative, drawing attention to the camera itself, and momentarily fracturing our film viewing experience. Let’s explore the reasons behind these types of camera moves and how they’re used in film.
//CHAPTERS:
00:00 Camera Movement in Film
02:09 The Breach
04:20 Director’s Style - Fincher, Welles, Hitchcock, Kubrick
06:36 Martin Scorsese/Antonioni’s Pirouette
10:44 Alienation
11:24 Godard’s Weekend
12:48 Fassbinder’s Ali: Fear Eats the Soul
14:21 Memory - Alfonso Cuarón
//SOURCES:
Films credited on screen throughout the video
“The Future of Cinema” (1948) by Alexandre Astruc as translated by The Third Rail
The Shining and the Steadicam®: an interview with inventor Garrett Brown
The Shining - The Making Of Doc
Michelangelo Antonioni Salutes Martin Scorsese at the AFI Life Achievement Award
Film at Lincoln Center: Alfonso Cuarón on Y Tu Mamá También
//MUSIC:
Rain by Twin Musicom is licensed under a CC BY 4.0 license.
Artst: www.twinmusicom.org/
9 by Lex Villena is licensed under a CC BY-SA 3.0 license.
CGI Snake by Chris Zabriskie is licensed under a CC BY 4.0 license.
Source: chriszabriskie.com/divider/
Artist: chraiszabriskie.com/
Scenery by Kai Engel is licensed under a CC BY 3.0 license.
#cinematography #martinscorsese #videoessay