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Part Three: The Steadicam: Different Opinions
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Part Three: The Steadicam: Different Opinions
by Serena Ferrara
Steadicam
Cover
Half Title
Dedication
Title Page
Copyright
Contents
Foreword
Preface
Acknowledgements
Part One: History and Techniques
1. The moving camera
Camera movement: an historical overview
Types of camera movement
The function of camera movements
2. The Steadicam
Invention of the Steadicam
The first-generation Steadicam
Steadicam structure
Basic principles used in the Steadicam
The potential of the Steadicam
The great variety of shots that can be obtained with the Steadicam
Early use of the Steadicam in the movie industry
Using the Steadicam
The Steadicam configuration: high mode and low mode
The mounted Steadicam: hard mount and soft mount
Shooting with the Steadicam
Limitations on use of the Steadicam
Evolution of the Steadicam
New tools developed from the idea of Steadicam
The Steadicam’s accessories
The Steadicam in fields other than cinema
The workshop experience
Part Two: Semiotics and Narrative
3. The Steadicam as a creator of effects and as a narrator
The camera and points of view
Subjective vision
The quality of movement in a point of view shot
Structural evolution in Steadicam use from the earliest movies to the present
The gaze of the narrative voice
The Steadicam as a narrative voice
The Steadicam and cinematographic space
The Steadicam and real time
The Steadicam and remakes
The beginning and end of a movie
Conclusions
Part Three: The Steadicam: Different Opinions
4. Open debate and interviews with movie industry professionals
Open debate
Interviews
Garrett Brown
Giuseppe Rotunno
John Carpenter
Mario Orfini
Larry McConkey
Nicola Pecorini
Haskell Wexler
Ed DiGiulio
Vittorio Storaro
Caroline Goodall
Appendix
Introduction to the analysis of a film
Watching a movie
Maps of The Shining
Filmography
Bibliography
Index
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4. Open debate and interviews with movie industry professionals
Part Three
The Steadicam: Different Opinions
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