|ERA Journal ID||9233|
|Journal Title||Media Practice and Education|
|Journal of Media Practice|
|Journal Citation||20 (1), pp. 44-66|
|Number of Pages||24|
|Place of Publication||United kingdom|
|Digital Object Identifier (DOI)||https://doi.org/10.1080/25741136.2018.1464735|
|Web Address (URL)||https://www.tandfonline.com/doi/full/10.1080/25741136.2018.1464735|
Current discussions around the practice of cinematography are focusing on the extension, or disruption, of the art-form as it is increasingly practiced in the realm of the virtual. The process of performing cinematography in a virtual environment is discussed initially by reflecting on the work of early cinematographers compared and contrasted with the work of modern cinematographers. Following this, comparisons are made between current leading examples of virtual cinematography in the discipline. Traditional and ‘new’ virtual practices of cinematography are unpacked through the prism of concepts proposed by theorists Jean Baudrillard (Simulacra and Simulation 1995) and Charles Pierce (Triadic Model of Indexical, Iconic and Symbolic Signs). Conceptually, this paper argues the practice of the contemporary cinematographer is, in style and substance, much the same as the very earliest cinematographic practice. In conclusion, a summation of the application of the leading methodological virtual cinematographic processes to the independent, low-budget, feature film Space/Time (Michael O'Halloran, 2017a (in-production)) is discussed by the author who is also the director of photography for this film.
|Keywords||cinematography, virtual cinematography, virtual film-making, computer-generated imagery (CGI)|
|ANZSRC Field of Research 2020||360501. Cinema studies|
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|Byline Affiliations||Marketing and Student Attraction|
|Institution of Origin||University of Southern Queensland|
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