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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010

6 items from 2017


Started at the Bottom: The Cinematography of John Alcott

18 April 2017 11:01 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

Dp of Kubrick’s most memorable productions.

For his first job in the industry, John Alcott started as a clapper boy; you know, the guy who holds the clapper and clicks it to mark the start of filming. But from this absolute bottom rung of the camera crew Alcott ascended to the ultimate peak, that of an Oscar winner for Best Cinematography, along the way contributing to some of the most important films of the 20th century.

Alcott got his big break while working on Stanley Kubrick’s 2001: A Space Odyssey as a lighting cameraman. When the film’s original cinematographer, Geoffrey Unsworth, had to leave the project after two years owing to other commitments, Alcott was promoted — though not credited — and helped Kubrick finish the film, including shooting the entire “Dawn of Man” sequence. Two years later it was Kubrick who gave Alcott his first official job as a cinematographer, and »

- H. Perry Horton

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A Film About Understanding: ‘2001’ and Ocular Imagery

24 March 2017 9:02 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

A supercut of every eye image in Kubrick’s masterpiece.

Stanley Kubrick’s 2001: A Space Odyssey is a film about understanding, both what it means to have that capacity and how that capacity can catapult a species further, both positively and negatively. It is a film about looking at the universe surrounding us with new eyes, eyes that don’t just look but that see, eyes that look through the surface of things into the core where understanding is waiting to be attained.

Narratively, this is a tough concept to get across, which is why plot-wise 2001 can feel lose, lightly-structured or even nonsensical in spots. But visually, Kubrick and his cinematographers Geoffrey Unsworth and John Alcott are enforcing this concept all throughout the film with the repetition of ocular images, that is, images that resemble or recreate eyes.

https://medium.com/media/d62f9ca70397e7133db35923684ace1e/href

Obviously there’s the glowing red »

- H. Perry Horton

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The Perfect Shots of ‘2001: A Space Odyssey’

22 March 2017 11:02 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

A companion piece to the Shot by Shot podcast.

For the inaugural episode of our Shot by Shot podcast, Geoff Todd — One Perfect Shot founder — and myself decided to swing for the fences by tackling what we both consider to be a film that has some of the absolute best cinematography ever captured on film: 2001: A Space Odyssey, directed by Stanley Kubrick and shot by both Geoffrey Unsworth and John Alcott.

https://medium.com/media/d62f9ca70397e7133db35923684ace1e/href

In many ways, 2001 is the film that attracted popular attention to cinematography, so we thought it was the perfect place to start this new podcast, which each week will be looking at the perfect shots of a different film. Below you’ll find a link to the podcast and the six shots Geoff and I selected for discussion. Be sure to subscribe on iTunes, Stitcher, Soundcloud, or »

- H. Perry Horton

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Introducing One Perfect Podcast: 3 New Shows Premiere This Week

20 March 2017 9:02 AM, PDT | FilmSchoolRejects.com | See recent FilmSchoolRejects news »

Plus: A lot more ‘Alien,’ the first photo of Luke Skywalker, and the weekend’s best shots.

This week marks the start of a great new chapter in the history of Film School Rejects/One Perfect Shot, as we’re pleased to present the premiere episodes of our first three shows under the new One Perfect Podcast banner.

Up first and available today, After the Credits, a new kind of movie review show hosted by Fsr Columnist Matthew Monagle. Each week Matthew will be joined by a special guest to help him explore our expectations of certain films and how they impact the way we feel about what we ultimately see in theaters. This week the special guest is Fsr Chief Film Critic Rob Hunter, and the film in question is The Belko Experment.

Subscribe to One Perfect Pod: iTunes | Stitcher | RSS | Soundcloud

Then on Wednesday, March 22nd, the first episode of Shot by Shot drops. Hosted »

- H. Perry Horton

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Witness the Evolution of Cinematography with Compilation of Oscar Winners

6 February 2017 1:47 PM, PST | The Film Stage | See recent The Film Stage news »

This past weekend, the American Society of Cinematographers awarded Greig Fraser for his contribution to Lion as last year’s greatest accomplishment in the field. Of course, his achievement was just a small sampling of the fantastic work from directors of photography, but it did give us a stronger hint at what may be the winner on Oscar night. Ahead of the ceremony, we have a new video compilation that honors all the past winners in the category at the Academy Awards

Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by »

- Jordan Raup

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The Internecine Project

6 January 2017 1:15 PM, PST | Trailers from Hell | See recent Trailers from Hell news »

The Internecine Project

Blu-ray

Kino Lorber Classics

1974 / Color / 1:78 widescreen / 89 min. / Street Date January 3, 2017 / available through Kino Lorber / 29.95

Starring: James Coburn, Lee Grant, Harry Andrews, Ian Hendry, Michael Jayston, Christiane Krüger, Keenan Wynn, Julian Glover.

Cinematography: Geoffrey Unsworth

Film Editor: John Shirley

Original Music: Roy Budd

Written by: Barry Levinson, Jonathan Lynn from a book by Mort W. Elkind

Produced by: Barry Levinson

Directed by Ken Hughes

 

Don’t let the ugly Italian poster art on the disc box throw you — The Internecine Project is a clever plot-driven murder tale in an espionage vein that gathers a string of B+ stars from the early 1970s for ninety minutes of suspense. It’s not the kind of suspense that makes you wonder what’s going to happen next, but the kind that points to a finish that we know will employ a big surprise, a killer-diller last-minute twist. Or three.

The »

- Glenn Erickson

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2017 | 2016 | 2015 | 2014 | 2013 | 2012 | 2011 | 2010

6 items from 2017


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