To do so, this exegesis will be executed through practice-based research. By bridging film theory research with practical experience and reflection, I aim not to create a recipe or formula for perfect coverage, but instead gain a deeper insight into the process, deconstructing and shedding new light on some ingredients at a cinematographer's disposal.
In choosing practice-based research as my methodology, I aim to focus on the insights within reflection on my process and practice through the diverse projects I had the pleasure of working on this year. I’ll be focusing on ‘Dust Cloud’, written and directed by Trudi Refshauge, a light-hearted narrative with a dog protagonist. Alongside Adam Finney’s observational documentary ‘Where is my Darling?’, and pre-production testing and experimentation for Jenna Sutch’s ‘Death Doula’, which is scheduled to shoot in February next year due to COVID-19. What interested me about all three projects was their focus both narratively, and emotionally, on character — which I feel make them perfect candidates for a cinematographic style that strives for connection to character.
In choosing practice-based research as my methodology, I aim to focus on the insights within reflection on my process and practice through the diverse projects I had the pleasure of working on this year. I’ll be focusing on ‘Dust Cloud’, written and directed by Trudi Refshauge, a light-hearted narrative with a dog protagonist. Alongside Adam Finney’s observational documentary ‘Where is my Darling?’, and pre-production testing and experimentation for Jenna Sutch’s ‘Death Doula’, which is scheduled to shoot in February next year due to COVID-19. What interested me about all three projects was their focus both narratively, and emotionally, on character — which I feel make them perfect candidates for a cinematographic style that strives for connection to character.
Before diving into the projects, I want to begin by
recapping on where my earlier research was
at before undertaking the capstone projects:
recapping on where my earlier research was
at before undertaking the capstone projects:
(Dunlop, 2019). Watch the full video here
While its now clear to me that the literature on cinematographic interpretation of point of view is quite vast, I do still believe a deconstruction of cinematic techniques and their impact on point of view is something I can contribute to, and my categorisation these techniques has expanded beyond just movement, coverage and composition through further learnings I’ve made in research, through interviews with other practicing cinematographers, and reflection of my experience on the capstone projects.