{"id":9615,"date":"2008-04-10T06:46:40","date_gmt":"2008-04-10T04:46:40","guid":{"rendered":"http:\/\/camernew.klienci.052b.com\/pierre-lhomme-afc-nagroda-za-caloksztalt-tworczosci\/"},"modified":"2008-04-10T06:46:40","modified_gmt":"2008-04-10T04:46:40","slug":"pierre-lhomme-afc-nagroda-za-caloksztalt-tworczosci","status":"publish","type":"post","link":"https:\/\/archive.camerimage.pl\/en\/pierre-lhomme-afc-nagroda-za-caloksztalt-tworczosci\/","title":{"rendered":"PIERRE LHOMME AFC – LIFETIME ACHIEVEMENT AWARD 2008"},"content":{"rendered":"

<\/p>\n

\n
<\/div>\n

We have a great honour to announce that acclaimed French cinematographer, Mr. Pierre Lhomme<\/b>, Honorary President of the French Association of Cinematographers, will receive the Lifetime Achievement Award<\/b> at the 16th Edition of the International Film Festival of the Art of Cinematography PLUS CAMERIMAGE<\/span><\/b>. <\/p>\n

Pierre Lhomme<\/p>\n

The career of Pierre Lhomme<\/b> spans 40 years of the French cinema, passing with ease and from the works of Alain Cavalier<\/b> to Chris Marker<\/b>, from Jean Eustache<\/b> and Jean-Pierre Melville<\/b>, to Marguerite Duras <\/b>and Jean-Paul Rappeneau<\/b>, from Robert Bresson<\/b> to James Ivory<\/b>\u2026, collaborations enriched by their diversity that were nurtured by an attentive and uninterrupted observation of all forms of natural light. On his personal journey that starts with the \u201cclassics” (in which through apprenticeship Pierre Lhomme began his career) and then on to the \u201cNew Wave”, Pierre Lhomme<\/b> was able to reconcile the strength of an image that was reflected and constructed with the tastes of the period, and then move more towards a more natural approach of cinematography. <\/p>\n

Born on the 5th of April, 1930, Pierre Lhomme<\/b> studied from 1951 to 1953 at the Ecole Louis Lumiere, then was integrated into the cinema division of the French army. From 1955, he worked as assistant cameraman with Michel Kelber, Henri Alekan, Jean Bourgoin<\/b> and, above all Ghislain Cloquet (ASC)<\/b>. In 1958 Pierre Lhomme<\/b> began working as \u201ccamera operator” with Ghislain Cloquet<\/b> (Le bel age<\/i><\/span> by Pierre Kast<\/b>, La belle Americaine<\/i><\/span> by Robert Dhery<\/b>), but also with Nicolas Hayer<\/b> in Le signe du lion<\/i><\/span> by Eric Rohmer<\/b>, and then with Jean Penzer<\/b> for Les jeux de l\u2019amour<\/i><\/span> and Le farceur<\/i><\/span> by Philippe de Broca<\/b>. <\/p>\n

For Pierre Lhomme<\/b>, meetings with certain directors had a greater impact on him than meetings with cameramen. It was with Alain Cavalier<\/b> in 1961 that he first worked on a fiction (Le combat dans l\u2019ile<\/i><\/span> – Fire and Ice), and with Chris Marker<\/b> in 1962 on documentaries (Le joli mai<\/i><\/span>) working with the sense of new possibilities that came with \u201cdirect cinema” — made possible with the arrival of lighter cameras and synchronized sill now. <\/p>\n

Emmanuelle B\u00e9art, Eric Ruf Stolen Life<\/i><\/p>\n

Isabelle Adjani, Quartet<\/i><\/p>\n

If Le joli mai<\/i><\/span> shows us today the power inherent in a lighter, more liberated camera that is able to observe and listen, then Le combat dans l\u2019ile<\/i><\/span> (Fire and Ice), La vie de ch\u00e2teau<\/i><\/span> (A Matter of Resistance) reveal the possibilities of mastering black and white images that are rigourously composed and structured through the use of light. Faces in particular (Romy Schneider, Catherine Deneuve, Isabelle Adjani<\/b>) show again a totally classical influence that Pierre Lhomme<\/b> would later abandon going more for the force of softness. After the King of hearts by Philippe de Broca<\/b>, and with L\u2019Arm\u00e9e des ombres<\/i><\/span> (The Army of Shadows), Pierre Lhomme<\/b> confronted a decisive moment in his career, through the close association with a director (Jean-Pierre Melville<\/b>) who was not part of the same generation as Lhomme<\/b>. A sort of film manifesto deeply anchored in a twilight environment with a tone that became very dear to him. <\/p>\n

Following the black and white tendencies from La Maman et la putain<\/i><\/span> (The Mother and the Whore) by Jean Eustache<\/b>, the bold colours full of sunlight in Le Sauvage<\/i><\/span> (Lovers Like Us) by Jean-Paul Rappeneau<\/b>, the pale clarity of daylight seen in La Chair de l\u2019orchidee<\/i><\/span> (Flesh of the Orchid) by Patrice Ch\u00e9reau<\/b>, the warm and fuzzy ambiance in the films Quartet<\/i><\/span> and Maurice<\/i><\/span> by James Ivory<\/b>, the cold and aesthetic feeling of Mortelle randonn\u00e9e<\/i><\/span> (Deadly Run) by Claude Miller<\/b>… but always with the overriding theme of a lighting that remains clear and visible. <\/p>\n

G\u00e9rard Depardieu, Cyrano de Bergerac<\/i><\/p>\n

Nick Nolte, Thandie Newton, Jefferson in Paris<\/i><\/p>\n

It\u2019s with Robert Bresson<\/b>\u2019s Les Quatre nuits d\u2019un r\u00eaveur<\/i><\/span> (Four Nights of a Dreamer) that Pierre Lhomme<\/b> will have a better reach of the purity of an image, rigour in the framing and simplicity of the use of either natural lighting or lighting that was carefully reconstituted to lend a very sober and serene feeling that would illuminate the Pre-Raphaelite face of Isabelle Weingarten. <\/p>\n

The same concerns and constraints exist when faced with re-creation within a studio environment the slightest variations and vibrations of natural light, the sunrise over the artist studio in Camille Claudel<\/i><\/span> by Bruno Nuytten<\/b> in the opening sequence, the changes of season suggested through the windowpanes in the laboratory of Marie Curie (Les Palmes de M. Schutz<\/i><\/span> by Claude Pinoteau<\/b>), the perfect cohesion between the exteriors on the Island of Ouessant and the studio interiors in Voleur d\u2019un vie<\/i><\/span> (Stolen Life) by Yves Angelo<\/b>, and the final scene in Cyrano de Bergerac<\/i><\/span> by Jean-Paul Rappeneau<\/b> from the end of the day to the rising moon. <\/p>\n

Pierre Lhomme<\/b> has been nominated seven times for France\u2019s Cesar Award <\/b>and twice awarded the Cesar<\/b>. He is a winner of Technical Grand Prize<\/b> at the 1990 Cannes Film Festival<\/b>, winner of the B.S.C. award<\/b>, a BAFTA film award<\/b> in 1992, and the <\/B>Premio Gianni di Venanzo<\/B> in 2005. He is the Officer of the Order of Arts and Literature<\/b> and Knight of the French Legion of Honour <\/b>and also Honorary President of the AFC<\/b> (French Association of Cinematographers). <\/p>\n

text by Marc Salomon<\/div>\n

<\/p>\n

\u00a0Selected filmography: <\/b><\/p>\n

    \n
  • Le Divorce (2003) dir. James Ivory\n<\/p>\n
  • Cotton Mary (1999) dir. Ismail Merchant\n<\/p>\n
  • Stolen Life (Voleur de vie) (1998) dir. Yves Angelo\n<\/p>\n
  • Les Palmes de M. Schutz (1997) dir. Claude Pinoteau\n<\/p>\n
  • My Man (Mon homme) (1996) dir. Bertrand Blier\n<\/p>\n
  • Jefferson in Paris (1995) dir. James Ivory\n<\/p>\n
  • Toxic Affair (1993) dir. Philom\u00e8ne Esposito\n<\/p>\n
  • Voyager (Hommo Faber) (1991) dir. Volker Schl\u00f6ndorff\n<\/p>\n
  • Cyrano de Bergerac (1990) dir. Jean-Paul Rappeneau\n<\/p>\n
  • Camille Claudel (1988) dir. Bruno Nuytten\n<\/p>\n
  • Maurice (1987) dir. James Ivory\n<\/p>\n
  • Deadly Run (Mortelle randonn\u00e9e) (1983) dir. Claude Miller\n<\/p>\n
  • Quartet (1981) dir. James Ivory\n<\/p>\n
  • This Sweet Sickness (Dites-lui que je l’aime) (1977) dir. Claude Miller\n<\/p>\n
  • Flesh of the Orchid (La Chair de l’orchid\u00e9e) (1974) dir. Patrice Ch\u00e9reau\n<\/p>\n
  • The Mother and the Whore (La Maman et la putain) (1973) dir. Jean Eustache\n<\/p>\n
  • Four Nights of a Dreamer (Quatre nuits d’un r\u00eaveur) (1971) dir. Robert Bresson\n<\/p>\n
  • Army of Shadows (1969) (L’Arm\u00e9e des ombres) dir. Jean-Pierre Melville\n<\/p>\n
  • A Matter of Resistance (La Vie de ch\u00e2teau) (1965) dir. Jean-Paul Rappeneau\n<\/p>\n
  • Fire and Ice (Le Combat dans l’\u00eele) (1962) dir. Alain Cavalier\n<\/p>\n
  • Le joli mai (1963) dir. Chris Marker <\/li>\n<\/ul>\n

    <\/div>\n

    <\/p>","protected":false},"excerpt":{"rendered":"

    We have a great honour to announce that acclaimed French cinematographer, Mr. Pierre Lhomme, Honorary President of the French Association…<\/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":[147],"tags":[],"class_list":["post-9615","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-plus-camerimage-2008"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9615"}],"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=9615"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9615\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=9615"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=9615"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=9615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}