Camera movement in film history. From the technical and artistic point of view.

.Wedding traditions and customs vary greatly between cultures, ethnic groups, religions, countries, and social classes, which makes the wedding a diverse and unique experience from almost every point of view. The analysis of tehcniques and aesthetic styles, paying special attencion to color and other visual narrative elements, is ides to argue that wedding films should be considered a new genre, as a new and unique way of filmmaikng.

The main purpose of this thesis is to focus on methods and potentials of a director of photography when working on a feature. It tries to define cinematographer's tools and approaches in the course of making a fiction film from early pre-production to final postproduction. It contemplates the role of movie photography and how it effects the overall movie quality.

I´m interested in examining nigth scenes in film. Askong how cinematographers light scenes that are supposed to be in darkness

Tato diplomová práce se pokouší studovat dvě techniky používané při natáčení pohybujícího se úhlu pohledu ve filmech - kapesní kameru a Steadicam - k analýze toho, jak přispívají nebo zlepšují "realismus" ve filmu. K tomu dochází přezkoumáním stávající literatury o pohybu kamery a popsáním historie těchto dvou technik. Tato diplomová práce se také zabývá tím, jak byl pohybující úhel pohledu kinematograficky zachycován do dnešního dne. Na základě historického základu tato diplomová práce staví svůj teoretický předpoklad, mimořádně podpořený Andre Bazinovou teorií o filmovém realismu či filmy a představami o kinematografii, které uvedl Robert Bresson. Nakonec tato práce formuluje novou klasifikaci úhlu pohledu a perspektiv a analyzuje dva filmy (LászlóNemesův SonOfSaulaGusVanSantův Elephant) ,přičemžkaždý používá jednu z těchto technik natáčení pohybujícího se úhlu pohledu. Tímto způsobem se pokouší o pochopení, která z těchto technik pohybu kamery je nejblíže k dosažení "realismu" a představě kinematografie, jak je šíří Bresson.

The subject of my thesis is the work of the cinematographer Sven Nykvist. The center of the work is the subject of light, its analysis, its meaning and use in a film`s story. In the conclusion of my work I mention his worldwide success. Based on his biographical data I attempt to look into his personal life, and on a more general level, I consider the theme of creative work versus personal and family life.

In my diploma thesis I?m attempting to understand light in its various forms. The main goal of this thesis is to explore particular connections, but also differences within the framework of atmospheric lighting construction in film and art images. The first part of the text provides a summary of information about light itself, its perception, dispersion and its influence on the human psyche. It also addresses light and the construction of atmospheric lighting in several historical periods of fine art and cinematography. The following chapters focus on light composition construction as viewed by camera-men. An analysis of a selection of films is used to present specific cinematographic methods, especially those dealing with light. The final part of this thesis explores the work of film artists who were inspired by paintings in which the determining feature was the original artist?s usage of light and atmospheric lighting.

This thesis focuses on the importance of light as one of the main aspects of filmmaking and as a main tool for creation of atmosphere in cinematography. I mention some expressive cinematographer's styles in the history of cinematography and how different the work with light was in the context of the era. I focus on realistic and logical way of work with light and on technical and technological cinematographer's tools which enable this work and help him to create the light atmospheres and support the script to be perfectly visually translated.