According to author Aaron Sultanik, the viewer's response to a film derives from three visually ascertained, dramatically realized cognitive elements: (1) the multiple points of view of a camera's placement, angle, and mobility; (2) the dynamic spatiotemporal assemblage of a film's editing; (3) and the final meaning of a film through the story's pictorial stylization.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Behind each shot there lies an idea or purpose. When setting up a shot, the camera operator can employ a range of visual techniques that will clearly communicate the idea to an audience. Composition is the bedrock of the operator's craft, yet is seldom taught in training courses in the belief that it is an intuitive, personal skill. Peter Ward shows how composition can be learned, to enhance the quality of your work. Based on the author's own practical experience, the book deals with the methods available for resolving practical production questions such as: Does the shot composition accurately reflect the idea that initiated the shot? Will the content and method of presenting the subject accurately convey the idea? Major innovations in television and film production since the previous edition have affected the styles of composition, such as wide-screen and the use of mini DV cameras. These new technologies and their implications for picture composition are addressed in this new edition. A new colour plate section is also being included to update the section on colour. If you are a practising camera operator, trainee camera operator, student or lecturer on a television or film production course, or simply a video enthusiast wishing to progress to a more professional standard you will find this book essential in enhancing the quality of your work.

When widescreen technology was introduced to filmmaking in 1953, it revolutionized the visual framework and aesthetic qualities of cinema. Many modern moviegoers are already familiar with the widescreen revolution, which recently made its way from the big screen to the home screen. What remains hidden, however, is the rich history of this technology and its origins. Letterboxed: The Evolution of Widescreen Cinema tracks the development of widescreen cinema from the early twentieth century to contemporary technologies such as video games and IMAX. Examining early filmmakers such as buster Keaton and D.W. Griffith and genre pioneers like Nicholas Ray and Douglas Sirk, Harper Cossar explains how directors use wider aspect ratios to enhance their creative visions. Whereas previous analyses of widescreen cinema have pointed out the format capacity to increase an audience's level of engagement during viewing, or have heralded it as an end to the era of montage by analyzing a few canonical films. Cossar's new assessment of widescreen technology offers deeper insights into the aesthetic implications of the format. Letterboxed examines the impact of widescreen cinema by broadening the scope of films included in the discussion and by focusing specifically on classical Hollywood genre films directed by recognized auteurs. By examining the differences between widescreen format and its predecessor, the Academy ration, Cossar distinguishes between the physical and stylistic ruptures prompted by widescreen technology. Not only did widescreen offer an alternative to the traditional aspect ratio of the screen, but it also introduced new methods of working within cinematic tropes to utilize space and action more effectively. Cossar examines films throughout the history of cinema, uncovering the trends and changes that result from the use of widescreen, and also discusses the flexibility of widescreen methods as applied in various film genres. He reviews existing scholarship and offers his own insights about the origins of this technology, its impact, and its more recent uses in both live-action and animated film.

Enrich your motion graphic design work with this substantial investigation of aesthetic principles and their application to motion graphics. Historical reference provides context; design principles serve as building blocks; and an examination of method and technique inspire innovations in your own work. Bring your work to the next level with a command of concepts that include: the language of traditional graphic design and how it can be combined with the dynamic visual language of cinema; pictorial design considerations including the relationships between images and type, hierarchy, form and composition; and, how motion is orchestrated and sequenced to enhance artistic expression and conceptual impact.

With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema—fiction film, popular cinema, and documentary, video installation, and digital essay. A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolás Guillén Landrián (Coffea Arábiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film—as process, as experience, as experiment—opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis.