Die schräge Kamera. Formen und Funktionen der ungewöhnlichen Kameraperspektive in Film und Fernsehen (Themenheft zu IMAGE 1) 

Release date:
  30.01.2005

Content:  

  • Klaus Sachs-Hombach, Hans Jürgen Wulff: Vorwort

  • Klaus Sachs-Hombach, Stephan Schwan: Was ist „schräge Kamera“? – Anmerkungen zur Bestandaufnahme ihrer Formen, Funktionen und Bedeutungen

  • Hans Jürgen Wulff: Die Dramaturgien der schrägen Kamera: Thesen und Perspektiven

  • Thomas Hensel: Aperspektive als symbolische Form. Eine Annäherung

  • Michael Albert Islinger: Entmaterialisierte Blicke – Phänomenologische Betrachtungen im Zeitalter des digitalen Kinos

  • Jörg Schweinitz: Ungewöhnliche Perspektive als Exzess und Allusion. Busby Berkeley’s "Lullaby of Broadway"

  • Jürgen Müller: Out of focus – Verkantungen, Unschärfen und Verunsicherungen in Orson Welles' "The Lady from Shanghai" (1947)

    Article:  

    Vorwort
     
    Authors: Klaus Sachs-Hombach, Hans Jürgen Wulff
     
    [Thema des Artikels]
     
     

    Was ist „schräge Kamera“? – Anmerkungen zur Bestandaufnahme ihrer Formen, Funktionen und Bedeutungen
     
    Authors: Klaus Sachs-Hombach, Stephan Schwan
     
    To understand the phenomenon of the oblique angle properly, firstly it is necessary to gain an approximate overview of different forms, functions and contexts and to observe the style and the operational fields. Secondly it should be investigated what forms of the oblique perspective are used in what contexts and to what ends. This investigation of the ways of describing and thus the dimensions of meaning of tilting the camera will be done within the horizon of a multidisciplinary approach that is oriented on image science.
     
     

    Die Dramaturgien der schrägen Kamera: Thesen und Perspektiven
     
    Author: Hans Jürgen Wulff
     
    I want to count all forms of pictures to the oblique angle (also Dutch angle, Chinese angle, canted camera or tilted shot) in which the horizon of the picture does not agree with the horizon of the audience. It is the form of tilting around the axis of the picture. Therefore there can be distinguished between the core and the marginal area. Within the core I distinguish the tilting (oblique position on the axis of the camera) variation of camera (back and forth movement on the axis) rolling on the axis (continuing rotation in one direction).
     
     

    Aperspektive als symbolische Form. Eine Annäherung
     
    Author: Thomas Hensel
     
    It will provide a historic view on the beginnings of unusual perspectives within the fine arts.
     
     

    Entmaterialisierte Blicke – Phänomenologische Betrachtungen im Zeitalter des digitalen Kinos
     
    Author: Michael Albert Islinger
     
    [Thema des Artikels]
     
     

    Ungewöhnliche Perspektive als Exzess und Allusion. Busby Berkeley’s „Lullaby of Broadway“
     
    Author: Jörg Schweinitz
     
    It is suggested that yet the most unusual camera perspective will become a normal devise of the film – will become a usual perspective – the more it is conventionalised.
     
     

    Out of focus – Verkantungen, Unschärfen und Verunsicherungen in Orson Welles' "The Lady from Shanghai" (1947)
     
    Authors: [none]
     
    Gastautor:  
     
    The Lady from Shanghai is an unusual movie, a movie that throws overboard the conventions of fictional movies. As it will be shown, Orson Wells follows different strategies in his movie to irritate the audience and to deprive it of the control about the action.