Dustin Johnson - BA Critical Studies USC School of Cinematic Arts '08
Johnson has done a bit of everything from music creation, graphic illustration, photo manipulation, and web development to motion graphics and compositing, video editing, 3-D animation and 2-D vector animation as well as familiarization with SEO, CMS, and other broad-spectrum Web 2.0 applications. His strongest emphasis has always been visual storytelling through both photography and cinematography. Over the past ten years he’s been fine tuning his skills with both film and video, working professionally on freelance corporate and special event gigs while volunteering as a student director of photography on projects within USC's cinema school as well as many independent projects. In 2006 he became a founding member of an informally incorporated new media consulting agency currently dubbed AeneA Media.
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Cinematography Articulated
Cinema from both a theoretical and post theoretical perspective is analyzed as a form of communication. Despite its polysemic nature, scholars and artists alike try to deconstruct films into a semiotic language for the purpose of more meaningful study or more controlled and emphatic expression. The dilemma has been from a variety of perspectives the fact that although cinema emits a strong feeling that it can be understood as a language, it rejects denotation and definition in exchange for vague patterns, undefined conventions, intertextual connotations, and generic associations.
Cinematographers to the best of their ability have some understanding of the visual language in terms of the ways in which they are able to use their technical skills to reproduce patterns of style that can be applied to different syntaxes to act as a visual language, suggesting that whether or not audiences receive their interpretations the same way, there is some unspoken consensus among cinematographers that over time, patterns in cinematography emerge, almost like slang, stereotypes, and clichés that can be used to intensify a variety of ideas on screen. This project will attempt to recreate, from a cinematographer and theorist’s perspective, the way in which theory and practice interact with cinema to create a codified language.
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1 comment:
This bio shows us your many talents. The first sentence ought to be split up for ease of reading beginning with the clause "as well as familiarization" since it breaks the "from, to" parallelism.
The abstract: comma after the first word (Cinema, from both...). Second sentence-they don't deconstruct films INTO a semiotic language but rather USING semiotics. They might try to contain it that way...
The third sentence: there is a missing word after "dilemma has been..." Clarify this sentence's idea/s.
Sentence 4: I don't think you can speak about Cinematographers' abilities--as worded, it seems they are just unable. You are better off saying there is ample evidence for this slang (and their understanding of it) but it's remained implicit and you would like to change that by combining both perspectives (which is a very worthy endeavor). Be careful not to obfuscate the abstract; you can do that in the project!
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