DAVID COPPERFIELD
The Friday after you view the David Lean film adaptation of Charles Dickens' Oliver Twist (UK1948/US1951), you'll be able to compare it with Geoge Cukor's adaptation of another novel by Dickens, David Copperfield (1935), a brighter novel reflected in the difference of lighting in their film versions, as the attached study pictures explain.
Apart from our focus on cinematography, both films display some of the finest ensemble acting in Hollywood films, typical of the classical cinema. It's hard to find a false note in any performance, even among the children.
Unfortunately, some aspects of cinematography are difficult to show in single shots. Pay attention to the subtle camera movements (mainly follow shots or dolly shots). These are always a delight to notice, apart from their function in the film (to heighten the drama, however subtly).
For students who wish to practice noting aspects of cinematography, especially in the classical cinema (roughly dated 1930-60), where the moving camera, for example, was more subtle, nearly invisible, view a movie with friends and assign a different aspect of cinematography to each member, to be marked with a clap of the hands when a new angle is noted, different lighting, or a camera movement.
Of course, you can take one of these aspects of cinematography and practice alone. Find a movie you've seen a few times, so you're not too involved in the plot, then clap whenever you notice a new angle, a camera movement, or different lighting (based on quality, direction, or source).
Apart from our focus on cinematography, both films display some of the finest ensemble acting in Hollywood films, typical of the classical cinema. It's hard to find a false note in any performance, even among the children.
Unfortunately, some aspects of cinematography are difficult to show in single shots. Pay attention to the subtle camera movements (mainly follow shots or dolly shots). These are always a delight to notice, apart from their function in the film (to heighten the drama, however subtly).
For students who wish to practice noting aspects of cinematography, especially in the classical cinema (roughly dated 1930-60), where the moving camera, for example, was more subtle, nearly invisible, view a movie with friends and assign a different aspect of cinematography to each member, to be marked with a clap of the hands when a new angle is noted, different lighting, or a camera movement.
Of course, you can take one of these aspects of cinematography and practice alone. Find a movie you've seen a few times, so you're not too involved in the plot, then clap whenever you notice a new angle, a camera movement, or different lighting (based on quality, direction, or source).
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