| Abstract [eng] |
The relationship between different elements in the cinema is determined by light. Light carries important meaning in the film making of director and cinematographer Christopher Doyle. Throughout his career, Doyle has created nearly a hundred films which won him multiple awards, including Technical Grand Prize for the movie „In the Mood for Love“ and the Angénieux ExcelLens in Cinematography in the 70th Cannes Film Festival for his successful and influential career. This research examines the working methods of Doyle and compares them to those of the fine artists in order to find if there are any similarities between them and if a camera can be treated as a brush and paint, and if similar working methods can be used for both techniques. This work also looks at methods used in these films through a comparative analysis with methods typical to those used in the painting in different art movements, such as Old Masters and Impressionists, and aims to examine the links between these different creative fields. The research is based on two films from the vast filmography of Christian Doyle: In the Mood for Love and Fundamentally Happy. In these films Doyle skillfully revealed the subtleties of chiaroscuro technique and in turn his distinct style as a cinematographer. |
