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cinematography: Victor. J. Kemper

cinematography in other films:

cinematography in Husbands

Husbands 1970, a comedy about Life, Death and Freedom. Husbands follows three middle-aged men,long time friends and family men, in the wake of the sudden, premature death of the man who completed their fun-loving group. The film follows the three men as they go through what the director describes as a 'midlife crisis'-'they indulge their worst, most selfish instincts as they attempt to outrun the fear of mortality that has all but slapped them in the face.'

Husbands was shot in the 'cinema verite' style. this refers to a style of documentary filmmaking. It combines improvisation and the use of the camera to unveil truth or highlight subjects hidden behind crude reality.

this involves stylized set-ups and the interaction between the filmmaker and the subject, even to the point of provocation.The obvious presence of the filmmaker and camera is used reveal the truth in cinema.The camera is always acknowledged, for it performs the raw act of filming real objects, people, and events in a confrontational way. The filmmaker's intention was to represent the truth in what he was seeing as objectively as possible, freeing people from any deceptions in how those aspects of life were formerly presented to them. From this perspective, the is the catalyst of the situation.

The best way to describe this type of cinema is probably to say that it is concerned with notions of truth and reality in film

Who is Victor.J.Kemper?

cinematography in Dog Day Afternoon

Dog Day Afternoon opens with a series of shots that are superficially simple yet convey a number of themes and emotions. Cutting between images of Manhattan’s majesty and its poverty.

Kemper’s well-choreographed camerawork relies on constant movement, yet the technique never seems ostentatious or obvious; the cinematographer respects the film’s nonfiction origins (it is based on a true story) by allowing the characters’ actions and emotions to motivate the moves. Kemper also adheres to an organic lighting approach in which all of the illumination comes from realistically motivated sources. The bank scenes are lit with fluorescent (except for one sequence that takes place during a power outage), and night exteriors are sourced by police searchlights, car headlights and other practicals. Within this naturalistic scheme, Kemper positions sources in a manner that enhances the story’s drama.

furthemore, Kemper's use of different camera movements e.g. Pan (side to side) Tilt (up and down) and Tracking shot prove significant throughout as these shots link to the development of the film as well as the understanding for the audience.

Moreover, as the film is largely shot in what could be considered as a 'New York style' , this gives the film a somewhat 'gritty', street level film making.

Victor Jay Kemper is an American cinematographer who has worked on over fifty films. He is a member of the American Society of Cinematographers (ASC), and was its president twice, from 1993 to 1996, and from 1999 to 2001. Kemper won an Emmy for Outstanding Achievement in Cinematography for his work on the 1987 television movie, Kojak: The Price of Justice.Victor Kemper born on April 14th, 1927 (84 years ago) in Newark

nationality: United States of America

profession: Cinematographer

some of the nominations and awards: 1987 nominated to American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Mini-Series or Specials - "Kojak: The Price of Justice" 1998 nominated to American Society of Cinematographers Lifetime Achievement Award American Society of Cinematographers Lifetime Achievement Award

Victor. J. Kemper's notable work:

“Victor Kemper has consistently made important and enduring contributions to advancing the art of cinematography,” says ASC President Owen Roizman.

Husbands (1970) The Hospital (1971) The Candidate (1972) Dog Day Afternoon (1975)

Mikey and Nicky (1976) Audrey Rose (1977) Slap Shot (1977) The One and Only (1978)

Eyes of Laura Mars (1978) National Lampoon's Vacation (1983) Pee-wee's Big Adventure (1985)

Clue (1985) Beethoven (1992) Tommy Boy (1995) Jingle All the Way (1996)

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