This paper presents a new theoretical framework for examining the relationship between the hand-held camera and the camera operator’s body in autobiographical documentary. While many documentary scholars have written extensively on cinema vérité and direct cinema, they have not examined how the camera can embody the movements and perceptions of the cinematographer. In this analysis, I reexamine...

The Light Prop for an Electric Stage—also known as the Light–Space Modulator—is a major piece by László Moholy-Nagy, yet its intended use has remained subject to debates. Does importance lie in being stage lighting tool, three-dimensional mobile sculpture, or conversely, projector which shows full glory Play: Black–White–Grey, film Moholy-Nagy created with and about it? As cinematographer, I wi...

Dubbed ‘a forgotten trailblazer’ of Australian filmmaking, Lilias Fraser was also the mother cinematographer, Jane Castle, who spent more than a decade piecing together When Camera Stopped Rolling (2021), multifaceted documentary that draws on rich archive photographs, home movies and film footage shot by three generations Fraser-Castle family. Describing her love-hate relationship with film, C...

This paper examines the kinesthetic exchanges between camera operators and dancers, proposes that their creative methodologies interpersonal relationships can enhance making of a screendance. I discuss how discovered this project, unpack phrase “kinesthetic exchange,” identify cinematographer as co-creator film’s kinesthesia. also discussscreendances prioritize mobile operation, speculate share...

Hans Elias (1907 to 1985) was an anatomist, an educator, a mathematician, a cinematographer, a painter, and a sculptor. Above all, he was a German of Jewish descent, who had to leave his home country because of the policies of the National Socialist (NS) regime. He spent his life in exile, first in Italy and then in the United States. His biography is exemplary for a generation of younger expat...