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We have a great pleasure to inform you that Miroslav Ond\u0159\u00ed\u010dek<\/b> is the Laureateof the Special Plus Camerimage Award for Immense Contribution to the Art of Cinematography<\/b>. He will be our guest during this edition of PLUS CAMERIMAGE<\/b><\/i><\/span><\/p>\n This Czech, world-wide known cinematographer, with body of work spanning over 40 films, graduated from famous Prague Film School FAMU in 1959. Initially, he worked as a focus puller, grip, laboratory technician and assistant camera in Barrandov Film Studio called \u201cCzech Hollywood”, where he gained a wide knowledge about film production. He began his career in the 1960s through his work with such directors of the Czechoslovak New Wave as Jan Nemec, Ivan Passer<\/b>, and especially Milos Forman<\/b>. As their films received prestigious awards at international festivals, Ond\u0159\u00ed\u010dek’s photography was recognized as a chief factor determining the movement’s style and form. <\/p>\n His first film achievement as the author of cinematography was Audition<\/i><\/span> in 1962 directed by Milos Forman<\/b>. The professional relationship with this film director brought Ond\u0159\u00ed\u010dek<\/b> world-wide acclamation. He was nominated twice for the Academy Award for films directed by Forman<\/b> – Ragtime<\/i><\/span> (1982) and Amadeus<\/i><\/span> (1985). <\/p>\n In 1968, after Warsaw pact invasion in Czechoslovakia, he moved to England and worked with Lindsay Anderson<\/b> on the films The White Bus<\/i><\/span> and If…<\/i><\/span> It was a crucial moment in his film career. The film If…<\/i><\/span> won Golden Palm at Cannes Film Festival in 1969 and Ond\u0159\u00ed\u010dek<\/b> gained an opinion of a valuable, creative collaborator. <\/p>\n Even abroad, he was strongly attached to Czech cinema and worked with many Czech directors as Milos Forman, Jaroslav Papousek, Zdenek Podskalsky, Stepan Skalsky, Otakar Vavra, Ota Koval <\/b>and Jiri Krejcik<\/b>. In 1980s he co-operated with American filmmakers, such as George Roy Hill<\/b> (Slaughterhouse-five, The World According Garp, Funny Farm<\/i><\/span>), Mike Nichols<\/b> (Silkwood<\/i><\/span>), Michael Dinner<\/b> (Heaven Help Us<\/i><\/span>), Robert Mandel<\/b> (F\/X, Big Shots<\/i><\/span>) and Penny Marshall <\/b>(Awakenings<\/i><\/span>). During this decade, two important films of Ond\u0159\u00ed\u010dek<\/b> and Forman<\/b> had also been created, Amadeus<\/i><\/span> and Valmont<\/i><\/span>. In general, his cinematography of 1980s had strengthened his high professional reputation. <\/p>\n Ond\u0159\u00ed\u010dek<\/b>‘s photography does not exhibit any consistent stylistic or formal features. It simply demonstrates a versatile technical professionalism, discipline, and artistic intuition, which has always given him that rare ability to translate the director’s vision into convincing visual images. After all, in an interview for American Cinematographer (May 1982), Ond\u0159\u00ed\u010dek<\/b> plainly admitted, “Give me the right story and director, and I believe that I can find any cinematographic style that is needed.” <\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" We have a great pleasure to inform you that Miroslav Ond\u0159\u00ed\u010dek is the Laureateof the Special Plus Camerimage Award for…<\/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":[146],"tags":[],"class_list":["post-9725","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-plus-camerimage-2007"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9725"}],"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=9725"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9725\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=9725"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=9725"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=9725"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}