This study puts its centering to the history, function and aesthetics of cinematography. The study is mainly classified into 2 kinds. It is divided into the part which historically considers the former part, which examines the aesthetic development of photographing, and the latter part which analyse...
This study puts its centering to the history, function and aesthetics of cinematography. The study is mainly classified into 2 kinds. It is divided into the part which historically considers the former part, which examines the aesthetic development of photographing, and the latter part which analyses the works of vittorio storaro who is the modern cinematographer, by use of the pictorial analysis for the guidelines. We mutually compared and considered the history of cinematography with the developmental scope of pictures, and executed it in the periodic consideration upon the order of planning, light & darkness and color. We can have the basis of comparison analysis under the proof which the basic pictures-making is similar with the aesthetic development of pictures, which the history of former part is analysed and compared with the history of pictures, and desire to arrange the basis for the analysis of pictures, as the guidelines for the analysis of latter part, by these consideration. Also, wi compared and examined the similarity owned by the pictures with of naturalism, impressionism and expressionism in the order of U.S.A. film, initial film of France, and that of Germany. For the consideration of Theatrical Background for the analysis of works, we considered the examples of iconographic analysis and those of descriptive analysis, and thus suggested other visions which analyse the image of movie. In the latter part, we suggested and analysed a series of works of cinematographer, Vittorio Storaro, which actually films the modern movie, in order to check under which ways the cameraman, who makes the image of movie, connects the developmental type of pictures with their images through the keeping and breaking of similarity traditions. The analysis of this study is limited into the pictures-making similarity of color and lighting, and thus the scope of study is reduced. We makes as the basis of analysis which the distinction hold by the image of the cinematographer, Vittorio Storaro, is put in the using of the creative color, and then examined the example of creative using of color shown in each works in order to keep the unity. The artistic indication of cinematographer, Vittorio Storaro, asserted by this study is put in the subjective use of these colors, and it shows the which the analysis limited to the photographing is possible through the analysis on his image which it keeps the unity in the work of various producers. Through the conclusion, this study finds out the creative roles and aesthetics of technical power, which was closed, and then executes its analysis, and thus it shows which the creative development of image, which starts to be remarkable in the modern movie is not limited to the individual thoughts of producter, and is possible by the cinematographer as the second creator. It is asserted through the analysis limited to the cinematography once more which the function of cinematography is not stayed in the scope of simple recording or revival and performs the function of re-creator.
This study puts its centering to the history, function and aesthetics of cinematography. The study is mainly classified into 2 kinds. It is divided into the part which historically considers the former part, which examines the aesthetic development of photographing, and the latter part which analyses the works of vittorio storaro who is the modern cinematographer, by use of the pictorial analysis for the guidelines. We mutually compared and considered the history of cinematography with the developmental scope of pictures, and executed it in the periodic consideration upon the order of planning, light & darkness and color. We can have the basis of comparison analysis under the proof which the basic pictures-making is similar with the aesthetic development of pictures, which the history of former part is analysed and compared with the history of pictures, and desire to arrange the basis for the analysis of pictures, as the guidelines for the analysis of latter part, by these consideration. Also, wi compared and examined the similarity owned by the pictures with of naturalism, impressionism and expressionism in the order of U.S.A. film, initial film of France, and that of Germany. For the consideration of Theatrical Background for the analysis of works, we considered the examples of iconographic analysis and those of descriptive analysis, and thus suggested other visions which analyse the image of movie. In the latter part, we suggested and analysed a series of works of cinematographer, Vittorio Storaro, which actually films the modern movie, in order to check under which ways the cameraman, who makes the image of movie, connects the developmental type of pictures with their images through the keeping and breaking of similarity traditions. The analysis of this study is limited into the pictures-making similarity of color and lighting, and thus the scope of study is reduced. We makes as the basis of analysis which the distinction hold by the image of the cinematographer, Vittorio Storaro, is put in the using of the creative color, and then examined the example of creative using of color shown in each works in order to keep the unity. The artistic indication of cinematographer, Vittorio Storaro, asserted by this study is put in the subjective use of these colors, and it shows the which the analysis limited to the photographing is possible through the analysis on his image which it keeps the unity in the work of various producers. Through the conclusion, this study finds out the creative roles and aesthetics of technical power, which was closed, and then executes its analysis, and thus it shows which the creative development of image, which starts to be remarkable in the modern movie is not limited to the individual thoughts of producter, and is possible by the cinematographer as the second creator. It is asserted through the analysis limited to the cinematography once more which the function of cinematography is not stayed in the scope of simple recording or revival and performs the function of re-creator.
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