Pollini Monica (21 results)
Language: English
Published by CreateSpace Independent Publishing Platform, 2018
- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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£ 12.58
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- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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£ 12.11
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- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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£ 12.38
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- Softcover
Seller: California Books, Miami, FL, U.S.A.California Books
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£ 14.39
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Language: English
Published by CreateSpace Independent Publishing Platform, 2018
- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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£ 26.77
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Language: English
Published by CreateSpace Independent Publishing Platform, 2018
- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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£ 15.17
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Language: English
Published by CreateSpace Independent Publishing Platform, 2018
- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
Contact seller5-star sellerCondition: Used - As new
£ 16.30
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- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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£ 15.62
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- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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£ 26.88
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- Softcover
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
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£ 17.71
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Taschenbuch. Condition: Neu. Neuware - Tra le cose che mi hanno stimolato di più parlerei della 'fotografia dinamica', qualcosa che non avevo mai visto prima di allora. Consiste nella possibilità di modificare la luce all'interno di un piano sequenza, non per motivi naturalistici - nel senso che se accendi una luce chiaramente l…'illuminazione si modifica - ma per aggiungere un'emozione all'immagine, per suggerire modulazioni emotive. Durante i mesi precedenti la lavorazione, Tarkovskij mi aveva detto: 'Mi piacerebbe fare dei cambi di illuminazione all'interno della stessa sequenza. In parte ho già accennato in Stalker questo tipo di fotografia, ma non in modo consistente'. È stata una delle poche richieste specifiche di Andrej, sulla quale abbiamo lavorato da prima che iniziassero le riprese. Abbiamo trovato le risposte tecniche che ci permettessero di girare in tranquillità, ci siamo dotati di tutti i mezzi necessari. Solitamente non sfruttiamo il fattore tempo in ripresa perché cerchiamo di girare sequenze che non presentino differenze dal punto di vista fotografico, per facilitare l'assemblaggio di inquadrature fotograficamente coerenti in fase di montaggio. Tarkovskij, invece, riteneva assolutamente interessante sfruttare il fattore temporale del piano sequenza, all'interno del quale si permetteva di modificare la luce, modulando emozioni e significati e aggiungendo così valore all'inquadratura. Voleva dei cambiamenti che non corrispondessero necessariamente a un processo esterno o ad una azione fisica. (Giuseppe Lanci).
- Softcover
Seller: moluna, Greven, Germanymoluna
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- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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- Softcover
Seller: California Books, Miami, FL, U.S.A.California Books
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- Softcover
Seller: GreatBookPrices, Columbia, MD, U.S.A.GreatBookPrices
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£ 65.73
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Condition: As New. Unread book in perfect condition.
Language: English
Published by Createspace Independent Publishing Platform, 2018
- Softcover
- Print on Demand
Seller: THE SAINT BOOKSTORE, Southport, United KingdomTHE SAINT BOOKSTORE
Contact seller5-star sellerCondition: New
£ 15.18
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Paperback / softback. Condition: New. This item is printed on demand. New copy - Usually dispatched within 5-9 working days.
- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
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£ 70.51
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Condition: As New. Unread book in perfect condition.
- Softcover
Seller: GreatBookPricesUK, Woodford Green, United KingdomGreatBookPricesUK
Contact seller5-star sellerCondition: New
£ 74.61
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Condition: New.
- Softcover
Seller: moluna, Greven, Germanymoluna
Contact seller5-star sellerCondition: New
£ 70.57
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Condition: New.
- Softcover
Seller: AHA-BUCH GmbH, Einbeck, GermanyAHA-BUCH GmbH
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£ 95.59
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Taschenbuch. Condition: Neu. Neuware - La voce pacata e l'espressione attenta di Giuseppe Lanci, non di rado accompagnate da sottile e delicato umorismo, condurranno il lettore in un racconto che attraversa, nel vivo del set, oltre cinquant'anni del migliore cinema italiano, e non solo. Dalla formazione al Centro Sperimentale di… Cinematografia all'esperienza da operatore di macchina al fianco di Tonino Delli Colli e Franco Di Giacomo, dalle incertezze degli esordi all'immersione nella dimensione unica del cinema di Andrej Tarkovskij per Nostalghia, dai sodalizi artistici con Marco Bellocchio, Paolo e Vittorio Taviani, Nanni Moretti agli incontri con Bolognini, Magni, Wertmüller, Von Trotta, Cavani, Del Monte, Greco, Piscicelli, Archibugi, Luchetti, Benigni, Franchi. L'arte e il mestiere del creare la luce e l'impatto visivo del film sono resi con dovizia di particolari tecnici ma sempre nell'ambito di un approccio umanistico, e in un insieme di riflessioni che vanno dai condizionamenti produttivi alle relazioni con gli altri reparti del set e gli attori, fino al tema della 'carriera' in generale. L'intervista si sofferma poi sull'ultima passione di Lanci, quella per l'insegnamento e per lo scambio con i giovani, passione che lo riporta, da docente e coordinatore didattico, al Centro Sperimentale dei suoi inizi. Foto di scena e di set illustrano questo percorso magistrale e testimonianze di registi e colleghi fanno da contrappunto alla narrazione di uno dei maggiori direttori della fotografia italiani.
- Softcover
Seller: Mispah books, Redhill, SURRE, United KingdomMispah books
Contact seller4-star sellerCondition: New
£ 166.00
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paperback. Condition: New. NEW. SHIPS FROM MULTIPLE LOCATIONS. book.
Language: English
Published by Createspace Independent Publishing Platform, 2018
- Softcover
- Print on Demand
Seller: CitiRetail, Stevenage, United KingdomCitiRetail
Contact seller5-star sellerCondition: New
£ 18.99
£ 37.00 shippingShips from United Kingdom to U.S.A.Quantity: 1 available
Paperback. Condition: new. Paperback. Of the things that have stimulated me most, I would mention "dynamic photography", something I'd never seen before then. It involves modifying the lighting within a sequence plan, not for naturalistic reasons - like switching on a light, which clearly changes the lighting - but to add emotio…n to the image, to suggest emotional changes. In the months before shooting, Tarkovskij told me, "I'd like to make changes in the lighting within the same sequence. Up to a point, I've already hinted at this kind of photography in Stalker, but not in any consistent way". It was one of Andrej's few specific requests, and we worked on it before shooting started. We discovered the technical answers that would make shooting easy, and procured all the necessary equipment. As a rule, we don't exploit the time factor in shooting, because we try to shoot sequences without any differences from a photographic point of view, to make it easier to edit photographically coherent frames. Tarkovskij, however, maintained that it was extremely interesting to exploit the time factor of the sequence plan, within which, by modulating the lighting, he modulated the emotions and significance of the sequence, thereby adding value. He wanted changes that did not necessarily follow any external process or physical action. This item is printed on demand. Shipping may be from our UK warehouse or from our Australian or US warehouses, depending on stock availability.
