Unleashed camera
The Unleashed Camera was a way of guiding the camera in film , developed in the 1920s . While camera movements were previously limited to vertical and horizontal pans of a static camera or tracking shots from cars or trains, the camera was now moved by the surgeon himself or by technical equipment such as cranes or swings. The unleashed camera added another space-opening element to the aesthetic of the film in addition to the movements in front of the camera.
history
The Unleashed Camera was introduced by the German cameraman Karl Freund in the 1920s and quickly caught on. One of the first films to use this camera technology is the film The Last Man by Friedrich Wilhelm Murnau, made in the Babelsberg film studios , from 1924. Here, for example, Freund mounted the camera on a bicycle that he rode out of an arriving elevator into the hotel lobby . In another scene the camera was in a cable car. Freund captured the subjective view of the main character staggering in a scene by strapping the camera to his chest and imitating the staggering.
Abel Gance used the unleashed camera in Napoleon (1927) by swinging it on a swing over the moving crowds of the National Convention or over dancing ball-goers. In addition, Gance had miniature cameras built into soccer balls and thrown like bullets. Even Alfred Hitchcock sat in his English films of the 1930s complicated by preference, expansive camera movements one.
Today almost all films are shot with unleashed camera movements. The term is therefore not more common and is used as a film technical parameters of the camera autonomy out that is set high or low depending on the style and needs of the director, but on the invention of Unchaining camera -based continuations Dolly , hand-held camera and Steadicam are At least since the triumphant advance of video clip aesthetics, it has become a permanent fixture in film productions in order to create dynamism and tension with rapid tracking shots, tear pans, zooms and similar stylistic devices.
literature
- Stefanie Weinsheimer: Unleashed camera . In: Thomas Koebner (Ed.): Reclams Sachlexikon des Films. Philipp Reclam jun., Stuttgart 2007, ISBN 978-3-15-010625-9
Individual evidence
- ↑ Heribert Heinrichs: Lexicon of the audio-visual educational means . Kösel-Verlag, Munich 1971, p. 116.
- ↑ Learning to watch films . 1: Basics of film aesthetics . ISBN 3-86150-637-8