AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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AIC concrete pratiche, rispecchiamenti estetici di prassi e idee politiche. L'impegno, al contrario, è quello di restare con i piedi per terra. E non trovo nulla di male a considerarmi ingranaggio, allo stesso livello del regista e di altri lavoratori del cinema, di un meccanismo di mercato. Il peggio sarebbe se io non fossi consapevole di tutto ciò e mascherassi la mia ignoranza rincorrendo la favola di una bellezza prodotta dalla luce che pura più non è, innocente lo è ancora meno. There is a lot of talk nowadays — maybe, too much — about the Director of Photography's right to be called a Photographic Author. If it were merely a question of semantics, then the whole thing would be of minor importance; although, it is true that words are important and, often, changes in definition, like the above, can either be the result of a new cultural trend or contribute to creating one. However, campaigning for a mere verbal adjustment, is like debating the sex of "Oci Ciornie" di Franco Di Giacomo angels. On the other hand, if the question being discussed is merely that of royalties that would be due to the Director of Photography should he be nominated "co-author", then one would be ignoring the cultural aspect, which I feel is particulary relevant, and regarding which 1 would like to make the following points: Who is at the service of what? And what is the precise relationship between the Director of Photography and the Director? When one talks about collaboration, one has to recognize that the Director of Photography is at the service of the film; at the service of a particular vision of the world, in which the individual talents that go to create it are utilized according to Director's wishes, and as his intelligence decrees. And as his vision of the film implies our beautiful photography being interpreted in a particular way, it is the Director of Photography's duty, having accepted the assignment, to help the Director realize what he wants to achieve aesthetically in the photography. This is what 1 mean by being at the service of a film. Even though Film and Director can be said to be one in the same, this dues not mean that the Director of Photography automatically has to embrace the Director's choices regarding the photography. However, what could possibly justify the Director of Photography's asserting his own judgment, or acting on his own initiative? If, for example, a Director asks a Director of Photography to shoot a film without back lighting, this doesn't necessarily mean that the Director of Photography has to feel that his creative freedom is being curbed, or his capacity for making decisions questioned. Eventual differences of opinion can always be discussed and resolved, as long as there is mutual respect. In fact, this is exactly what happened to me when I was working on Oci Ciornie when, because of M.'s preference for natural light, as opposed to artifical light, 1 found myself having to adjust the relationship between the exteriors and interiors in a way to which 1 was unaccustomed. However, in this case, the Director proved to be right, as — and this is what I particularly want to emphasize — the aesthetic quality of the images perfectly expressed what he wanted to communicate in the film. But let's go back to the beginning and the question I asked earlier: it is obvious that the Director of Photography's being considered an "author" is related to his knowledge of lighting techniques and his capacity to utilize them. However, when the word "author" is used in a grandiose sense, it immediately evokes equally grandiose interpretations of Light, Beauty, and Truth. It is as if the Director of Photography had become a worshipper of esoteric ideas, or a defender of abstract ideals. In reality, it is our job, as Directors of Photography, to create the images, which we realize, using both our fantasy and the various technologies at our disposal which, if used correctly, give us a greater possibility of expressing ourselves. The danger is, that we run the risk of believing that we are the Champions of a Lost Beauty, or that the Beauty we create is synonymous with the Meaning of Life and Truth. The various changes that society has undergone in the last few centuries have, in fact, produced similar fascinating concepts which, briefly speaking, are not so much the abstractions of one man, but concrete expressions and artistic interpretations of political beliefs. A Director of Photography has to keep his feet on the ground. And 1, myself, have no problem in considering myself a part of the general cinema mechanism, along with the Director and anyone else who works in movies. The worst thing would be if I were not aware of the above, and still believed — out of ignorance — in the fabled concept of Beauty, created by Light, when that same light is no longer pure, and lost its innocence way, way back.
AIC EASTMAN. NEL NOME DEL COLORE. Un colore sempre più vivo ed emozionante. Sem- pre perfetto. È il colore che trovate nella vastissi- ma samma di videonastri professionali Eastman. Una gamma cost completa da soddisfare qualsia- KJffl si esigenza, in qualsiasi formato. Eastman. Nel nome della perfezione.
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AIC ASSOCIAZIONE ITALIANA AUTORI DE
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AIC Muchos anos después, frente el
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AIC ASSOCIAZIONE ITALIANA AUTORI DE
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AIC Realizzazione e redazione MARIO
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AIC
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AIC 91 CINQUE ANNI DI PROGRAMMAZION
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AIC producers have (especially in I
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AIC
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AIC Partirei dall'idea che l'immagi
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AIC 8 o < - CXI O) . gS « S u lu f
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AIC Bordeu. "Cosa circoscrive la vo
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AIC enfatizzate e prolungate, per s
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AIC ; » t®' ' WM mm i L'IMMAGINE
Page 27 and 28: AIC Ci sono giorni in cui penso sia
Page 29 and 30: AIC "Cinema è tutto ciò che non s
Page 31 and 32: AIC "One from the heart" di Vittori
Page 33 and 34: AIC Molti, troppi sono i miti che c
Page 35 and 36: AIC Oggi i più hanno (o pensano di
Page 37 and 38: AIC continuino a coesistere, in cer
Page 39 and 40: AIC Lino asino fu già, ch'ogni oss
Page 41 and 42: AIC Immagine da computer graphic di
Page 43 and 44: AIC LA PROSPETTIVA ... anni, paiono
Page 45 and 46: AIC la lente, il microscopio, il te
Page 47 and 48: AIC addensamenti di energia resti u
Page 49 and 50: AIC Movie People: agile e dinamico
Page 51 and 52: AIC "Luci lontane" di Renato Tafuri
Page 53 and 54: AIC D A M Kodak è soprattutto tecn
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Page 59 and 60: AIC Schmidt Reitwein, Robby Mùller
Page 61 and 62: AIC Ad un primo sguardo, i compiti
Page 63 and 64: AIC Cominciamo con un paradosso. Da
Page 65 and 66: AIC ^IMMAGINE E L'ANGOSCIA 61 Io ri
Page 67 and 68: AIC modem cameras. We cannot afford
Page 69 and 70: AIC 10% (escludendo le lavorazioni
Page 71 and 72: AIC I PIÙ TIRANO I MENO (proverbio
Page 73 and 74: AIC cinematografica medesima. La ma
Page 75 and 76: AIC pensa la gente. A volte ho anch
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Page 85 and 86: AIC L'IMMAGINE E L'ANGOSCIA La gola
Page 87 and 88: AIC anche essere il tavolo della tr
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Page 91 and 92: AIC Nel frattempo i cittadini dovra
Page 93 and 94: AIC World Cup '90, Europe '92, etc.
Page 95 and 96: AIC Giunto al quinto anno di progra
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Page 99 and 100: AIC "L'intervista" di Tonino Delli
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Page 103 and 104: AIC COLLEGIO DEI PROBIVIRI Armando
Page 105 and 106: IVO GRIPPO Via Tuscolana 1055, 0017
Page 107 and 108: AIC GIUSEPPE MODICA Quantunque il l
Page 109 and 110: AIC L'IMMAGINE E Gli AUTORI ROMANO
Page 111 and 112: AIC ARMANDO NANNUZZI
Page 113 and 114: AIC TONINO MACCOPP1 SANDRO D'EVA Fo
Page 115 and 116: AIC CESARE ALLIONE Me stato chiesto
Page 117 and 118: AIC DANIELE NANNUZZI Il giovane Tos
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Page 121 and 122: AIC ROBERTO D'ETTORRE PIAZZOLI Non
Page 123 and 124: AIC GIANFRANCO TRANSUNTO È la luce
Page 125 and 126: AIC CLAUDIO CIRILLO Lux anima rerum
Page 127 and 128: AIC ROBERTO SALMI L'immagine è il
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AIC
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AIC "L'ultimo imperatore" di Vittor
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AIC evoluzione figurativa del lungo
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AIC avanti e indietro, come a somma
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AIC segment of the Film would relat
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AIC Molti chiedono come si diventi
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AIC maggior collaboratore del regis
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AIC Capivo che, nell'inquadratura f
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AIC Dalle esigenze artistiche di al
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AIC Ancora oggi se ci capita di ved
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AIC reality became one. Even now th
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AIC recommended me to Federico Fell
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AIC Ci ricordava Francois Truffaut
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AIC Com e noto, la troupe cinematog
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AIC
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AIC "Sudan subacqueo" di G. Lorenzo
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AIC E volentieri che faccio mia una
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AIC lavora ancora a tardissima età
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AIC of the "product". And then ther
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AIC Allo scoppio della seconda guer
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AIC audience that extended across f
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AIC A 78 anni ALDO TONTI é morto i
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AIC I teatri della De Paolis sulla
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AIC V DE P AOL IS - INC IR INDUSTRI
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AIC confidenze, a volte non troppo
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AIC Immagine e letteratura LORENZO
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AIC movie era, written by some of i
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AIC LA TUA FIGURA, UN RICORDO Un di
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AIC A proposito del film di Tovoli
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AIC LA MODA DELL'AVVENIRE Calendari
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AIC A.A.I.M.A. ROMA Via Aurelio 332
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AIC l'IT A H A OSI 81C0M SICIHOBIOH
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AIC Quale un fanciullo, con assidua
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AIC Si ringraziano G. Franco Borgio
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AIC, 1988 - AIC Associazione Italiana Autori della Fotografia ...

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