A selection of landscape cinematography extracts from the past year or so, taken from a variety of professional work, exercises and personal sketches. Special thanks to Brett Harvey, Lisa May Thomas and Esther May Campbell for use of work I shot for them.
FULL TITLE: Romantic Subjectivity in the Anthropocene: an analysis of the Ecosublime landscape in the cinematography of Emmanuel Lubezki
This is a video paper I presented at the Film and the Environment Symposium at the University of East Anglia (UEA) as part of the the UK Green Film Festival, on Friday 6th May, 2016.
It is the first in a series of three papers that I have recently delivered at conferences- it is quite rough in terms of its construction and I include it here, with others to follow, to demonstrate a progression of technique and refinements of my theoretical and academic work.
This is the original abstract:
Three-time Academy Award winner Emmanuel Lubezki is an artist whose understanding of landscape and nature as a conduit of emotion and drama is unparalleled in modern cinema. The Revenant (2015), Gravity (2013) and his collaborations with Terence Malick demonstrate this depth of meaning and feeling in the way he frames and moves through landscape, especially in his choice of super-wide lenses combined with fluid and stabilised long takes.
To this end, does the critical and box office success of films like The Revenant and Mad Max: Fury Road (2015) suggest that there is an increased awareness and willingness to express and discuss issues of climate change in mainstream cinema?
This paper analyses how Lubezki uses his craft to immerse the audience in the landscape of his films, and examines the potential for cinematographers to explore themes of environmental catastrophe, anthropogenic climate change and ‘the human’ within the ecosublime landscape, specifically in reference to affect theory, Romantic Subjectivism and the auto-ethnographic experience of the cinematographer as part of the creative process.
FULL TITLE: The Last Man, the Rückenfigur and Mad Max- Romantic Subjectivism
and ‘the Human’ within the Apocalyptic Sublime Landscape
This is a video paper I presented at the Imagining Apocalypse Symposium at RESCO (Romanticism and Eighteenth-Century Studies Oxford) at Oxford University, on Saturday 18th June, 2016.
It is the second in a series of three papers that I have recently delivered at conferences- it is quite rough in terms of its construction and I include it here, with others to follow, to demonstrate a progression of technique and refinements of my theoretical and academic work.
This is the original abstract:
‘The human’ has always been an essential element in literal and visual representations of the apocalyptic landscape- from Mary Shelley’s The Last Man (1826) to John Martin’s painting of the same name (1849); from the Rückenfigur (‘person seen from behind’) popularised by Caspar David Friedrich (1774-1840) to modern day figures in mainstream cinema, such as those in Mad Max: Fury Road (2015) and The Revenant (2016).
Prior to the 18th century the apocalypse in art and literature was closely connected to religious themes of revelation and the end of the world, until the paradoxical concepts of Enlightenment and Romantic Subjectivism broadened the scope of the apocalyptic to encompass nature and the sublime.
In more modern times it could be argued that the apocalypse has begun to symbolise the end of nature by the hand of man, in the advent of the new epoch of the Anthropocene.
This paper suggests that elements of subjectivism- that knowledge is based in feelings and intuition, that reality is driven by experience- demonstrate the importance of depicting ‘the human’ within the apocalyptic landscape as a way not only of enabling the audience to relate to the imagery or to give scale to the nature of what is being witnessed, but to enable a sense of connected emotional and personal experience to a subject that is almost impossible to comprehend and is yet compelling in a directly sublime way.