{"id":8123,"date":"2016-11-09T11:36:22","date_gmt":"2016-11-09T10:36:22","guid":{"rendered":"http:\/\/camernew.klienci.052b.com\/seminarium-gabora-szabo\/"},"modified":"2016-11-09T11:36:22","modified_gmt":"2016-11-09T10:36:22","slug":"seminarium-gabora-szabo","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/seminarium-gabora-szabo\/","title":{"rendered":"G\u00c1BOR SZAB\u00d3 SEMINAR"},"content":{"rendered":"<p><\/p>\n<div class=\"article\">\n<div>\u00a0<\/div>\n<div style=\"text-align: center\"><strong>THE DEVELOPMENT OF CAMERA MOVEMENT IN FILM AND ITS INTEGRATION INTO CONTEMPORARY FILM LANGUAGE<\/strong><\/div>\n<div style=\"text-align: center\"><strong>14.11, 16:30,<\/strong><\/div>\n<div style=\"text-align: center\"><strong> Multikino Screening Room 6<\/strong><\/div>\n<div>\u00a0<\/div>\n<div>\u00a0<\/div>\n<div style=\"text-align: justify\">In the past few years there have been revolutionary breakthroughs in camera movement. How has the language of film itself been affected and influenced by these new devices? Which direction are they taking the philosophy of film in? Exploring these questions requires a discussion of a number of aspects of camera operation that are currently evolving:<\/div>\n<div style=\"text-align: justify\">\u00a0<\/div>\n<ul>\n<li style=\"text-align: justify\">Categorising and characterising camera movements from different points of view<\/li>\n<li style=\"text-align: justify\">The archetypes of camera movements both physically and from a narrative perspective<\/li>\n<li style=\"text-align: justify\">The relations between camera movements and the viewpoint of the film<\/li>\n<li style=\"text-align: justify\">The criteria for cutting camera movements<\/li>\n<li style=\"text-align: justify\">How the speed of the movement influences narration<\/li>\n<li style=\"text-align: justify\">Techniques for executions executing camera movements<\/li>\n<li style=\"text-align: justify\">The handheld camera\u2019s special criteria<\/li>\n<\/ul>\n<div style=\"text-align: justify\">Nowadays the technology of the film industry seems to open out into two main arms, much like a pair of scissors: big budget American blockbusters that still use the most expensive equipment, but also productions using new, lower budget technology that has emerged, perhaps pointing towards a more democratic cinematic world.<\/div>\n<div style=\"text-align: justify\">How can we use these new moving toys, and how can we understand, at the same time, what their effect will be on the viewers of our films?<\/div>\n<div style=\"text-align: justify\">\u00a0<\/div>\n<div style=\"text-align: justify\">\u00a0<\/div>\n<div style=\"text-align: justify\"><strong>G\u00e1bor Szab\u00f3, HSC<\/strong> graduated in 1975 from the Hungarian Academy of Theatre and Film Art. He was a student of Gy\u00f6rgy Ill\u00e9s, who taught cinematographers such as Academy Award<sup>\u00ae<\/sup> winner Vilmos Zsigmond and L\u00e1szl\u00f3 Kov\u00e1cs. As a Director of Photography, Szab\u00f3 has made more than twenty feature films, numerous documentaries, live-music concerts and many commercials, working with several well-known directors, like Imre Gy\u00f6ngy\u00f6ssy, Barna Kabay Academy Award<sup>\u00ae<\/sup> winner Istv\u00e1n Szab\u00f3. He was the cinematographer of the Academy Award<sup>\u00ae<\/sup> nominated Holocaust drama <em><span class=\"article-text-color\">J\u00f3b l\u00e1zad\u00e1sa<\/span><\/em> (1983), Vilmos Zsigmond&#8217;s directorial debut <span class=\"article-text-color\"><em>The Long Shadow<\/em><\/span> (1992) and most recently <span class=\"article-text-color\"><em>Snapshots<\/em><\/span> (2002). He made his debut as a film director in 1992 on a short film made in Jerusalem called <span class=\"article-text-color\"><em>Wailing Walls<\/em><\/span>, which won him first prize in 1993 at the International Festival of Short Films in Mons, Belgium.<\/div>\n<div style=\"text-align: justify\">\u00a0<\/div>\n<div style=\"text-align: justify\">\u00a0<\/div>\n<\/div>\n<p><\/p>","protected":false},"excerpt":{"rendered":"<p>\u00a0 THE DEVELOPMENT OF CAMERA MOVEMENT IN FILM AND ITS INTEGRATION INTO CONTEMPORARY FILM LANGUAGE 14.11, 16:30, Multikino Screening Room&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[142],"tags":[],"class_list":["post-8123","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-camerimage-2016"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8123"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=8123"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/8123\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=8123"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=8123"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=8123"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}