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Best Films Ever
And show the documentary "Visions of Light" and see clips from most of these, and more.
David Mullen, ASC
Los Angeles
Hi Paul,
as an introduction to the cinematography class, I screen "Visions of light" to my students. It's a great 1h30
documentary about great cinematography and great cinematographers, and really a good intro for students (well,
that's what my students think after they've seen it...)
Good luck.
--------------------------------------------------------*
Always look on the bright side of life !
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Frdric ANSALDO
Instructor
Toronto Film College
36 Eglinton West, Ste 707
Toronto, ON M4R 1A1
Tel (416) 484 - 1577
Fax (416) 484 - 1567
www.torontofilmcollege.ca
The best way to predict your futureis to create it!
> Streetwise
If you want to show them an amazingly photographed documentary, this is not a good choice.
William Klein's Muhammed Ali -- The Greatest (skip part 3, added on several years later) is amazing and beautifully
shot, in B&W. On DVD easily found.
Jeff Kreines
Hello
How about showing your students some films that they probably would never see without a little bit of
"encouragement"
My picks are:
-Stalker
-Mirror
(Both films by Andrei Tarkovsky - Both films full of visual and directorial features to discuss with the students they
could make a mind-blowing impression on some of the students they did for me filmmaking at its best)
-Come and See
(An absolute work of art that I think everyone on this earth should see)
B&W :
Antonioni's L'Avventura(There's a beautiful sunrise scene)
DR.Strangelove
Psycho
Night of the Living Dead
Vidas Secas
The Apartment
Orson Welles:
Citizen Kane, and "It's All True"- the uncompleted film about Brazilian fishermen, finished 52 years
later, shot in Brazil (RKO fired him for it) I only saw part of it on cable(I'd like to find it)
And Woody Allen's "Zelig"
John Babl
DP
Miami
Citizen Kane
Touch of Evil
Dracula (Coppola's)
Apocalypse now
Ciao Federico (the documentary on Fellini during the making of Satiricon
- The line "Its a movie if the cow moves it is alive" is perfect)
-Steven Gladstone
New York Based Cinematographer
Gladstone Films
www.gladstonefilms.com
I usually find the best way to illustrate what you are trying to say is to show something that is not so good. We can all
say what is nice about an image. But being able to look at something that is badly shot and analysing that is probably
more beneficial, IMHO.
When I teach martial arts I get the students to learn from what they are doing wrong, not what they are doing right.
Same when I get them to look at other people doing martial arts. I get them to look at what is wrong or could be done
better. They tend to gain a better understanding of what they are doing that way. By analysing things that are right a
person can become locked into doing things a certain way, or trying to blindly copy what they are shown without fully
understanding it or having the information sink in.
So I think that by looking at bad cinematography students get to think for themselves more and get to work out why
things work or don't work on a deeper level than had they just been shown lots of eye candy.
Simon Wyndham
Video producer, UK
Paul,
I'm very much opposed to the idea that there exists a film that "everyone" should see, or even a film that all
cinematography students should see (as implied by the title of the thread), but I'd like to add two questions about
your initial list of ten films:
1/. Wouldn't it be valuable to have a film or two in your list that you think are somewhat or fairly ineffective in its use
of cinematography, so that you have a point of comparison? I bring this up particularly as you are instructing
directors- and writers-to-be, so that they have some idea of what they risk by not bringing cinematography to the
table as part of the construction of the film.
2/. What were the reasons for the films you chose? Because the audience is directors and writers, I also think it would
be valuable to have films where the cinematography is vital to underscoring the rhetorical point of the film, rather than
films that bask in some sort of mood or saturate the film in aesthetic glory. While I wouldn't go so far as to say that
the cinematography in the films in your list all fall into that category, most of them do strike me as, in a sense,
"cinematographer's" films.
While it will be clear to your audience (I hope) why cinematography was valuable for those films, it won't necessarily
be clear to your audience why cinematography should be vital for the films that they make (especially narrative-driven
or acting-driven films). Surely you agree that cinematography can supply more than just the "mood, feel, and
emotional strength" of a film?
Without taking my first point into account (any film that you feel is lacking in cinematographic input would do), here's
a list of ten (thirteen) titles that I think could make an effective series of films to relate the value of cinematography to
writers or directors :
1. Playtime
This film, more than any other I've seen, explores how story and comedy can be related almost entirely with visual
(and non-dialog audio) effects. While it might not be the sort of film any of your dialog-oriented students would
consider making, at least it has the possibility of opening their mind to taking some of the story out of the dialog itself
and into the mise-en-scene. Instead of this, you could substitute some of the better silent films, though I've already
included one below.
2. L'Avventura
Like Playtime, the cinematography in L'Avventura contributes to the film in non-traditional ways. Certainly there are
other cases where the camera almost takes on a role in the film, and the cinematography reveals a lot about what's
going on that isn't otherwise supplied, but this seems to be regarded as something of a landmark in that area.
3. Ali: Fear Eats the Soul
I haven't seen a film where I felt the cinematography was more effectively exploited to underscore the psychology of
the characters and situations.
4. Citizen Kane
Because this film has been so long argued for as the perfect film by film teachers and buffs. It is about as canonical as
could be. It certainly does show how much cinematography (and editing) can contribute to a film, even when it's very
much narrative-driven. As an exercise, you should get the students to try to imagine the film shown in chronological
order with sitcom-style cinematography. The cinematography really is crucial.
5. My Life to Live
Cinema verite is as much a conscious cinematographic style as any other, and it seems valuable to me to include a
good example of it being employed to great effect. This happens to be my favourite, but certainly other films could
stand in for this one: Bicycle Thieves, Band of Outsiders, Stromboli. The cinematographic style of these films isn't
exactly subtle, but it's entirely appropriate to the subject matter. Compare with Visconti, whose style remains realistic
in the acting and dialog, but who has given the camera, framing, lighting, etc., a strong role of its own with its
slickness in La Terra Trema and Ossessione.
6. Tokyo Story
Any of Ozu's better films could substitute for this one. I think it would be important to show a film whose effect is
greatly increased by cinematographic restraint. It's a very beautiful film, and the cinematography in no small part
contributes to that, but if it drew any more attention to itself, it would begin to detract from the beauty of the film, I
think. The subtlety of the acting and dialog requires subtlety in the cinematography as well (the music, on the other
hand, is not subtle).
7. Who's Afraid of Virginia Woolf?
Here's a film with very attention-drawing cinematography that is still very much acting- and story-driven. It's a good
example of the opposite of the above: just because the cinematography draws attention to itself doesn't mean that the
other qualities have to suffer. On the other hand, if you gave the film very flat and boring cinematography, while it
would appeal to me much less, you'd still have an excellent and watchable film, that would probably have found its
way into film history. My point, I guess, is that the cinematography is not really crucial to the film, even though it's
such a huge part of it. You could substitute a number of other acting-driven films, I think: On the Waterfront is a good
one.
8. Celebrity
Not unlike Who's Afraid of Virginia Woolf?, Woody Allen's films are an interesting case where the director works with
some of the best cinematographers known to film history, and seems to let them do their thing. In his films, the
cinematography is always appropriate to the subject matter (as in Manhattan, the one you selected), but at the same
time, the visual style of his films seem to be more characteristic to the cinematographer than to him as a director.
Celebrity is kind of the best and worst example of this. On the one hand, I think the cinematography in this film is
more entwined with what Woody Allen is doing as a director than any of his other films that I've seen. On the other
hand, it's also his flashiest film (the cinematography could hardly draw much more attention to itself). I also happen to
think it's his most beautiful (I understand this might be something of a controversial point). In any case, Woody Allen
is an excellent case of what I perceive to be a filmmaker taking on excellent cinematographers and trusting them. Not
being an insider or having read any behind-the-scenes stuff on his films, I have no idea if that's really the case,
however.
9. Traffic
I actually dislike this film quite a bit, and in particular I disliked the unsubtle colour-scheming. That said, it contributes
to this list simple because it's a recent, well-known case of a director taking on his own cinematography. Even if the
film isn't great (and others will disagree), it's an excellent introduction into the point that directors can do more than
just think about the cinematography, they can take on the role themselves.
10. The Passion of Joan of Arc
Here's a story told almost entirely in close-ups. The Passion of Joan of Arc explores a lot of unconventional
cinematographic territory, more than most any film I can think of that is still a narrative film. Unfortunately, it remains
entirely unconventional. I've seen no film that tries in any way to follow in its footsteps.
That's 10, though there are topics left unexplored. A couple others I would add :
11. Nashville
As one of the most ambitious films I've seen that tries with regards to covering a large number of characters and
complicated stories while still make you aware of who the characters are and care about what happens to them, this
film exemplifies how cinematography (and editing) can assist in making crucial shortcuts while still allowing you to get
into the characters to a surprising degree. Much of the film still takes a second or third viewing to pick up on, but it's
amazing how effective the film is in its first viewing, despite its ambitions.
With crappier or less appropriate cinematography, this film would either make a lot less sense, or it would be much
longer.
12. Blade Runner :
For imaginative filmmaking, cinematography plays the essential role of making a film feel much more magical, or
intensely dreamlike. Blade Runner is certainly a landmark in this regard, and it remains one of the best examples. You
could easily substitute "Lawrence of Arabia" here for "Blade Runner" and "epic" for "imaginative". Same principle, and
these films more than any other represent cinematography at its most glorious moments in Hollywood.
13. The Big Combo
Or really, almost any other really famous genre film. There's a valuable point to be made that cinematography tends to
be one of the defining aspects of a filmic genre, and that all of the most famous films of a particular genre are also
famous for their cinematography, which typifies that genre. This is more true with noir than for any other genre, and it
is especially true for films that come later in the genre's development (or altogether after it has pretty much ended),
but you could certainly use My Fair Lady, Butch Cassidy, Shaft, Star Wars, Jaws, Chinatown, etc.
The point here being that anyone intending to make something that is very much a genre film should probably try to
incorporate cinematography at the most intimate level. Many of the finest (or most extreme) examples of genre
filmmaking practically bleed that genre's style from every frame. Incidentally, this is also how genre films get
parodied.
I can't think of a film that exemplifies this point best, but I think it's a relevant point that in Hollywood beautiful
cinematography seems to be seen as the equivalent to beautiful prose in literature. It is something of a shallow point,
but I think it can be seen in a lot of comments by directors and cinematographers of major novel adaptations (Lord of
the Rings and Ghost World come very quickly to mind, though there are countless others). Personally, I really don't
like this perspective; I think cinematography is a very poor substitute for excellent prose, and yet it has a lot to offer
on its own, but it's very easy to think of cinematography this way when adapting novels, and it certainly feels like the
Hollywood norm.
yours,
Jun-Dai
Hi!
I'm attending a course at the university of cologne, that quite reminds me of your topic. I really like the film choices,
although most of the students tend to know at least half of the movies:
A Personal Journey through American Movies with Martin Scorsese (USA 1995, R.: Martin Scorsese, 227')
Film 1895-1912 (Brothers Lumire, Melis, Porter, Griffith, ca. 90')
Le Mpris (Contempt, F/It 1963, Jean-Luc Godard, 99')
Der Kaiser von Kalifornien (The Emperor of California , Germany 1936, Luis Trenker, 93')
Det sjunde inseglet (The Seventh Seal, Sweden 1957, Ingmar Bergman, 92')
2001: A Space Odyssey (GB 1968, Stanley Kubrick, 134')
Citizen Kane (USA 1941, Orson Welles, 114')
Shichinin no Samurai (Seven Samurai, Jap 1954, Akira Kurosawa, 200')
Otto e mezzo (Eight and a Half, It 1963, Federico Fellini, 131')
Groundhog Day (USA 1993, Harold Ramis, 99')
Vertigo (USA 1958, Alfred Hitchcock, 124')
Remember the Titans (USA 2000, Boaz Yakin, 109')
Videodrome (Canada 1983, David Cronenberg, 89')
Best regards,
Anja Habermehl
Vogteistr. 15
50670 Kln
Privat: +49. (0)221. 355 89 12
Mobil: +49. (0)178. 85 70 256
From someone outside of the film creation process, I would be inclined to agree with Simon Wyndham - include one or
two examples of films that failed due to exactly what you are trying to stress. Otherwise, it would be like learning
photography by only looking at the greats. Yours won't measure up but it won't be clear why. Learning to be critical
involves the 'why' of not measuring up to a standard that you have set, not just recognizing the standard when it is
met.
Steve Nordhauser
Silicon Imaging Product Development
Troy, NY
Hi all
These days we are fortunate to have DVDs that give these bonuses and featurettes (some good some bad).
Specifically with behind the scenes and making of.
One in particular I would like to point out and to me by far the best, is the extra stuff provided by the Terminator
2,The Ultimate Edition DVD. It provides in depth information (Hours I kid you not)on every aspect of filmmaking, from
concept to marketing. Just looking at the table of contents alone will give you a basic chronology of how a film is
made. This includes the script, story boards, talking heads of the Director, writers, editors, composer,
cinematographer, etc. Including the techniques used in post.
It's film school in a nut shell (or should I say DVD).
Anyone who sees this will get an idea on how a film is made.
Also other great resources are American Cinematographer Magazine that gives you insight on the approaches and
choices (Stock, lens, post workflow, etc)made by cinematographers of some of the movies that are out at the time of
that particular publication (this month, DaVinci Code), and POST also gives insight on current movies' post production
techniques. Great "workbooks" to go along with the movie itself.
Hope this helps
Willie Bruno
Department of Film, Video and Broadcasting
School of Continuing and Professional Studies
New York University
Many of the films already listed would be on my list of what to screen, but I would add Kar Wai Wong's In the Mood for
Love to the list.
Cheers,
Patrick Cummings
DoP - Brisbane, Australia.
Not long finished film studies these are some we were shown
Thelma and Louise --female buddy film
Being John Malkovich - modern surreal
Un chien Andalou and L'Age d'Or -classic surreal
Baise Moi - traditional role reversal, not well taken by the males in the class but the girls appreciated it.
Spirited Away - award winning animation
Chicken Run - Parody in this case of prison camp escape films.
My add to list are
Crouching Tiger, Hidden Dragon
Brasil
Onibaba
Once Were Warriors - social film set in New Zealand also liked sequel What becomes of the Broken Hearted
Sandy Lacey
Ramsgate
UK
qwertziup