Cameraperson was one of the best films of the 2010s, a memoir of Johnson's decades working as a documentary cameraperson.
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I was a cameraperson for a long time — ten years.
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"Cameraperson" isn't arranged chronologically, but it does tell a story.
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Cameraperson airs Monday, October 23, as part of POV on PBS.
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If I had waited, I would never have become a cameraperson.
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Cameraperson is available on DVD and Blu-Ray from the Criterion Collection.
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A film review on Friday about the documentary "Cameraperson" misidentified the movie's editor.
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Kirsten Johnson ("Cameraperson") will host a Q. and A.718-636-4100, bam.
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We hear about this as a cameraperson meets residents in the sleeping quarters.
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WEEKEND A film review on Friday about the documentary "Cameraperson" misidentified the movie's editor.
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Is the cameraperson still alive or did they disintegrate at Drake's impossibly toothy grin?
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During the filming of The King, she worked as a cameraperson and a producer.
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Cameraperson ranked just behind Moonlight as Vox movie critic Alissa Wilkinson's favorite movie of 2016.
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The cameraperson who had to hold the camera that Beyoncé smashed during her Lemonade medley.
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The result was Cameraperson, a filmmaker's memoir constructed from footage Johnson had shot for various docs.
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Access here is restricted, and the cameraperson is filming secretly … … because this is no ordinary residence.
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MAPLE [Initially as a union cameraperson at CBS,] they gave me every kind of rough story.
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In Cameraperson, documentary cinematographer Kirsten Johnson turns the lens back on her own experiences working on films.
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They're stopped at one point by a ranger, prompting X to ask the cameraperson not to film.
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Points of connection between Cameraperson and The Confessions are easy to detect, because the impetus is the same.
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Although a swift departure from Johnson's acclaimed autobiographical debut Cameraperson, the two films both center family and self-documentation.
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"Cameraperson," Johnson's latest film, was released last week, and Sachs's "Little Men" is also currently playing in New York.
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The most gripping documentary in the lineup is "Charm City," by the Emmy Award-winning filmmaker Marilyn Ness ("Cameraperson").
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Typically, to shoot 360-degree VR content, a cameraperson employs several cameras rigged in a spherical formation to capture the scene.
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At the end of tour, the cameraperson turned off his camera and Adrienne and I went to a bar down the block.
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Cameraperson seeks to unravel the complicated relationship between the person behind the camera and the subject in front by essentially flipping the script.
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"Oh, you're foul, put it back," the cameraperson says, as she pops it right back on the shelf beside the other, unlicked gallons.
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We see one in handheld video that trembles as the cameraperson circles the outline; observers at the time likewise trembled out of fear.
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"Hhhh-Rise and shi-iiiiiine," Jenner sings to Stormi, who is clearly awake, perhaps because there is already a cameraperson in the room.
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And we'll keep watching Cameraperson, because it gives us the same experience — this time, into the memories and misgivings of a 21st-century cinematographer.
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Fittingly, the winner of CIFF's crowning Harrell Award is the film that most deftly syncretizes a great portion of these themes, Kirsten Johnson's Cameraperson.
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When CBC arrived—significantly, with a female cameraperson—looking for another interview, I struggled to say anything that would make for a compelling news hit.
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He goes straight to the cameraperson and seemingly asks him, or possibly the audience at home, if they got a good view of the play.
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Britney Spears knows how to "Work, B—h" – and she doesn't need anything besides a long hallway and a willing cameraperson to make it happen.
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Ms. Johnson is a well-respected, widely traveled cinematographer, and much of "Cameraperson," the festival's closing-night selection, consists of outtakes from her earlier films.
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After doing a project in Cuba with Jarecki and his team, I had the chance to work as a producer and cameraperson on The King.
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My mom sometimes worked as a cameraperson for church services, filming every backward dip into the water as though it were a major-league pitch.
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Cameraperson is the kind of movie the term "tour de force" ought to be reserved for, both memoir and meditation on the ethics of seeing.
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I have no idea what it will be about, but the meeting point of Cameraperson (Kirsten's 2016 documentary) and Transparent is everywhere I want to be.
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J." was more mini-series than film, and whether that mattered, and two replied: Kirsten Johnson, shortlisted for "Cameraperson," and Robert Kenner, of "Command and Control.
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How to watch it: Cameraperson is streaming on the Criterion Channel and available to digitally rent or purchase on Vudu, iTunes, Google Play, Amazon, and YouTube.
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Here's another angle in which the cameraperson was completely faked out of their back brace: Western Kentucky deserved the touchdown for the sheer illusion of it all.
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Cameraperson is composed of unused footage from those films and others, stitched together based not on chronology or topic, but on more elusive connections personal to Johnson.
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About halfway through Cameraperson, the astrophysicist Erik W. Davis explains to the camera — or to Johnson, who is behind the camera — the strange behavior of quantum entanglement.
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"Cameraperson" functions partly as a vindication of cinematography as a distinct art form, based on lighting, composition and the connection between the backbone and the optic nerve.
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The star of these films is the daughter of the house and dedicated camera-ham, enthusiastically inserting herself into as many shots as the cameraperson will allow.
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It's a paradox that's long fascinated Kirsten Johnson, the lauded documentary cinematographer, and director of a new film unlike any you've ever seen, Cameraperson (in theaters September 9).
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Watching Kirsten Johnson's 2016 directorial debut, Cameraperson, I found myself thinking both of St. Augustine and of Jacques Derrida, who wrote that photographs were tightly knit with death.
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Speaking to Vogue, Johnson noted that in putting Cameraperson together, she noticed an uncanny link between her and her subjects, many of which she hadn't personally seen in years.
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The brilliance of "Cameraperson" is that it invites and rewards such speculation even as its gaze remains fixed on the concrete, deceptively mundane details of the visible, physical world.
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For Johnson, "Cameraperson" was born from the ashes of an abandoned project that coincided with her pregnancy and that forced her to confront the ethics of her own work.
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In conjunction with the film's upcoming television premiere on POV, Daniel Schindel talked to Johnson over the phone about how her experiences gradually shaped Cameraperson into its final form.
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But the average Portland resident wouldn't have known there was a cameraperson on their way to meet Ellie, as she waited on the side of the road that afternoon.
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" If I may take the liberty to augment a Twitter quote of comedian Tim Heidecker, "If you didn't care for [Cameraperson] then genetically you are not a human being.
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The actress made this abundantly clear on Instagram Friday morning, when she posted a paparazzi photo of herself looking like she's about to bite the head off of the cameraperson.
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Last week at a coffee shop, I saw a woman gingerly peck at her latte as a cameraperson with very high-tech equipment filmed her for nearly 20 minutes straight.
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For Cameraperson, Johnson turned to the cutting room floor, using footage shot mostly for other films to construct a sort of memoir, letting us see the world through her eyes.
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Cameraperson and films like RaMell Ross's Hale County This Morning, This Evening (2018) advance an old documentary truism that the person holding the camera is always a character in the film.
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While each of those films tells a specific, studied story about its subject, there has always been one woman on the other side of the camera — and Cameraperson is her story.
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Pettyfer was a good sport about the whole thing, though, bashfully throwing ping-pong balls at the cameraperson before turning his chair around and going into full-on male-dancer mode.
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Jerry Pantzer, who I had not worked with up to that point — and who ended up being my cameraman for both "Book of Days" and "Ellis Island" — was the second cameraperson.
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Cameraperson, a haunting visual memoir by veteran doc cinematographer Kirsten Johnson, splices together footage left on the cutting room floor from films Johnson has shot to tell the story of a life.
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Johnson has spent her career working as a cameraperson for documentarians including Michael Moore, Laura Poitras, and Kirby Dick, and has worked on some of the most important documentaries of our time.
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Finally, the documentary Cameraperson was given the NBR Freedom of Expression Award, and Peter Berg and Mark Wahlberg shared the Spotlight Award for their creative collaborations on Patriots Day and Deepwater Horizon.
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She couldn't get a comment from the group, but her cameraperson did get a good shot of them as they and their huge entourage passed hordes of screaming and banner-toting fans.
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The closing-night film is "Cameraperson," from the American cinematographer and filmmaker Kirsten Johnson, a document of her life and her collaborations with the directors Laura Poitras, Michael Moore, Barbara Kopple and others.
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Some reviewers took Cameraperson to be an exceptional clips reel or navel-gazing "this is your life" sequence, but that's a category mistake, and may reveal more about the critic than the filmmaker.
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In a separate video recorded by a bystander, we see Bland in handcuffs thanking the cameraperson as she is escorted into a squad car that would take her to a Waller County jail.
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In Dick Johnson Is Dead, documentarian Kirsten Johnson (Cameraperson) zooms in on her aging father and her relationship with him as they both begin to come to terms with his inevitable eventual passing.
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I love picks like Things to Come, The Witch, and The Fits, but I might lose a few others (High-Rise, Indignation) to make room for a few that are missing (especially Cameraperson).
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Cameraperson is no mere assemblage of outtakes: It's about what it is to be a human, to live in the world, and to accumulate experiences that become part of one's own personal landscape.
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For live shows, someone like the floor producer can help the host with interview cards and the like, but when the setup is simply a correspondent with a cameraperson, things can get physically awkward.
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Another video, captured by NBC10 Philadelphia and posted to Facebook, shows one of the explosions that was so powerful that the cameraperson on the scene had to pull the camera back to capture it all.
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Cameraperson has already raked in big prizes from Sheffield and San Francisco, but Kirsten Johnson's memory bank of touching records from her illustrious cinematography career is deserving of yet another round of bouquets from Camden.
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Intuitively, we can fill in the dialogue as an unidentified maiden aunt receives a bottle of lotion, or a young boy, preoccupied with the business of the playground, instructs the cameraperson to leave him alone.
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As Johnson stood on an East River ferry on a steamy afternoon, talking about her new documentary, "Cameraperson," her Canon video camera kept twitching, tugged by her peripheral vision toward a woman in a white tank top.
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With the Bosnian family featured in Cameraperson, it was very clear to the director that they weren't people we were going to follow, but I didn't know that and kept filming them picking blueberries high up on a mountain.
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The company prohibits creators from "maliciously recording someone without their consent," but it doesn't seem to have applied that to videos of people being filmed in public, even when the cameraperson is trying to get a rise out of unwitting subjects.
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So the overriding arc of Cameraperson as memoir is what she says from the start, in the epigraph: a quest to sort out why these particular images, left on the cutting room floor, have stuck with her motivates the discovery.
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This is the emotional heart of our encounter with Penny — an affect made possible by the six cameras in a private space, which allow the artist's mother to tell her own story without the self-consciousness that a cameraperson would instill.
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Kirsten Johnson's stunning cinematic memoir Cameraperson (which premiered at Sundance in 2016 and will receive a prestigious Criterion Collection release on February 7) does just that: mine her life's experience for meaning, and ask the audience to live alongside her for a while.
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But even without these discreet (and sometimes comical) intrusions — and even without scenes of her mother, father and two small children — "Cameraperson" would be a remarkably intimate film, and a critique of the idea that there is anything impersonal or objective in photography.
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Kirsten Johnson, who made 210's extraordinary Cameraperson, is back with a shockingly funny, intimate, and devastating portrait of her father, Dick, who over the course of the last few years of his life has fallen further into the depths of dementia.
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Flick Of The Wrist Throughout the show, Kim calls upon the very kind, and very patient, cameraperson named Pax, or "Paxy," to literally hold her phone up for her to give the illusion of a perfect selfie because of Kim's growing affliction: a sore wrist.
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In spite of the catatonic aftereffects of three sedentary festival days, I drove out of Camden on Sunday enthused about the quality of the films, and particularly uplifted by the sincere religiosity of my (award-winning) festival favorites La natura delle cose and Cameraperson.
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The move from Cameraperson to Johnson's second feature, then, feels natural; it's called Dick Johnson Is Dead, and in it, Johnson zooms in on her aging father and her relationship with him as they both begin to come to terms with his inevitable eventual passing.
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Cameraperson leads its audience to contemplate several themes: the startling cruelty of which humans are capable and the ways it imprints itself on the world; the beliefs we hold and abandon that never quite leave us; the startling and inexplicable activity of the natural world; the cost of resistance.
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One difference between an adult film and a more mainstream one, aside from the sex, is that directors are a lot more hands-on when it comes to the filmmaking process, sometimes securing locations, ensuring lighting is correct, picking up the food for the craft services table and sometimes even acting as the film's cameraperson.
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It's easy to settle into the experience of wandering through the lives of strangers, ever so often stumbling upon a choice moment — a young girl eating a popsicle in slow-motion, the way a mother looks at her newborn — and feeling, perhaps like the cameraperson did at the time, like you've just struck gold.
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She shot Jacques Derrida on S-VHS, Osama bin Laden's onetime bodyguard on MiniDV, and Julian Assange in HD. In 2016, she made one of the best films of the decade, the essay/memoir Cameraperson, a testament to the complex relationships filmmakers develop with the people we record and the devices we use to record them.
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But there were plenty of others: Andrea Arnold's American Honey, Mira Nair's Queen of Katwe, Kelly Reichardt's Certain Women, Mia Hansen-Løve's Things to Come, Kim Snyder's Newtown, Kirsten Johnson's Cameraperson, Kelly Fremon Craig's The Edge of Seventeen, Anna Rose Holmer's The Fits, Karyn Kusama's The Invitation, Rebecca Miller's Maggie's Plan, Anna Biller's The Love Witch, and Anne Fontaine's The Innocents.
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The setup around an MTV correspondent at a VMAs red carpet, for example, includes a cameraperson, an audio person, a stage manager (who directs the correspondent and the talent), a floor producer (who communicates between the people on the carpet and the show producers in a nearby truck), and a talent representative (who wrangles the celebs and their publicists to do the interviews).
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Director Kirsten Johnson, who's worked as a cameraperson for some of the most well-known documentarians in the world (including Michael Moore, Laura Poitras, and Kirby Dick), used discarded footage she'd previously shot, mostly for other people's projects, to create an extraordinarily poetic and confessional film that explores what it means to film others and how what she's seen has shaped her own soul.
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Best Film: Manchester by the Sea Best Director: Barry Jenkins, Moonlight Best Actor: Casey Affleck, Manchester by the Sea Best Actress: Amy Adams, Arrival Best Supporting Actor: Jeff Bridges, Hell or High Water Best Supporting Actress: Naomie Harris, Moonlight Best Original Screenplay: Kenneth Lonergan, Manchester by the Sea Best Adapted Screenplay: Jay Cocks and Martin Scorsese, Silence Best Animated Feature: Kubo and the Two Strings Breakthrough Performance (Male): Lucas Hedges, Manchester by the Sea Breakthrough Performance (Female): Royalty Hightower, The Fits Best Directorial Debut: Trey Edward Shults, Krisha Best Foreign Language Film: The Salesman Best Documentary: O.J.: Made in America Best Ensemble: Hidden Figures Spotlight Award: Creative Collaboration of Peter Berg and Mark Wahlberg NBR Freedom of Expression Award: Cameraperson ArrivalHacksaw RidgeHail, Caesar!
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Teacher 49\. Cameraperson 50\. TV Shopping Crew "Help Wanted Preview" IGN.com. Retrieved on 2 April 2009.
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As it was distributed by Janus Films, Cameraperson was released by Criterion on 7 February 2017 on Blu-ray and DVD.
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Cameraperson is a 2016 autobiographical collage documentary film. The film is an account by director Kirsten Johnson about her life and career as a cinematographer. It relies on footage shot by Johnson across the years in numerous different countries. Cameraperson premiered at the Sundance Film Festival to critical acclaim and won the top prize at the Sheffield Doc/Fest.
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Director Kirsten Johnson at the Miami Film Festival presentation of Cameraperson Kirsten Johnson (born 1965) is an American documentary filmmaker and cinematographer. She is mostly known for her camera work on several well- known feature-length documentaries such as Citizenfour and The Oath. In 2016, she released Cameraperson, a film which consists of various pieces of footage from her decades of work all over the world as a documentary cinematographer. Directed by Johnson herself, Cameraperson went on to be praised for its handling of themes about documentary ethics interwoven with Johnson's personal reflection on her experiences.
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She accessed spare footage from the films she shot, and edited portions that were meaningful to her together for the experimental documentary film. Johnson's Cameraperson premiered at Sundance and won Sheffield Doc/Fest's Grand Jury Award in 2016. In 2015 Johnson released a short film titled The Above. Just like Cameraperson, this film was made up of footage she initially shot for a different film.
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Cameraperson currently holds a 99% "Certified Fresh" rating on Rotten Tomatoes based on 88 reviews, with an average score of 8.4/10; the site's consensus reads: "Fresh and inventive yet immediately accessible, Cameraperson distills its subject's life and career into an experience that should prove immediately absorbing even for those unfamiliar with her work." On Metacritic, the film holds a weighted average score of 86, indicating "Universal Acclaim".
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The episode won the Primetime Emmy Award for Outstanding Writing for a Comedy Series at the 39th Primetime Emmy Awards, a Humanitas Prize for 60 Minute Network or Syndicated Television at the 13th annual ceremony held in 1987 and a Writers Guild of America Award for Best Screenplay - Episodic Comedy at the 40th annual Writers Guild of America Awards 1987 ceremony held in 1988 for writers Gary David Goldberg & Alan Uger. It also won the Directors Guild of America Award for Outstanding Directing – Comedy Series at the 40th Directors Guild of America Awards for director Will Mackenzie. It also earned a Primetime Emmy Award for Outstanding Directing for a Comedy Series nomination for Will Mackenzie. In addition it won an Outstanding Technical Direction/Electronic Camerawork/Video Control for a Series Emmy for Parker Roe (technical director), Paul Basta (cameraperson), Tom Dasbach (cameraperson), Richard Price (cameraperson), John Repczynski (cameraperson), and Eric Clay (senior video control).
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He has a daughter named Aleena Haidari and a son named Muhammad Ammad Haidari. His wife is named Saadia Sehar Haidari. After Aziz's death, she started work as a journalist and cameraperson.
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Produced by Marilyn ness, Cameraperson documents the career and life of the director, Kirsten Johnson. The film premiered in 2016 at the Sundance Film Festival. After its release, the film made the shortlist for the Academy Awards in 2017.
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Marilyn Ness is a film producer and director based in New York City, with a focus on documentary films. She is known for social justice documentaries, including Bad Blood: A Cautionary Tale (2010), Charm City (2018), and Cameraperson (2016).
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Nettie Wild (Nettie Barry Canada Wild) is a Canadian filmmaker with a focus on documentaries that highlight marginalized groups and discrimination that these groups face, including people in Canada and around the world. She has worked throughout her professional career as an actor, director, producer, and cameraperson.
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Foster's speaking skills resulted in a voice actor role in the app Little Ashby: Star Reporter, developed by “Entertainment Tonight” host and MDA National ALS Ambassador Nancy O'Dell. Foster performed the voice of child cameraperson "Arty." A sports fan, Foster plans to pursue a career in sports, either as a football player, coach, or announcer.
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Johnson has directed 6 films, her most notable being personal collage-style memoir Cameraperson (2016). It captures the connection between the director and the subjects that she had filmed during her years behind the camera. While she worked for 25 years as a cinematographer, she traveled around the world to places such as Bosnia, Darfur, Kabul and Texas. Especially in Bosnia, Afghanistan, and Yemen, she witnessed and captured emotional, sometimes traumatic, events and interviews.
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Littlejohn was born in Newark, New Jersey in 1914. His father was an engineer for Pitney Bowes who worked an early combination of the adding machine and typewriter. In either 1931 or 1934 (sources differ on the date), he began working in animation at the Van Beuren Studio in New York. His aunt was a cameraperson there, and he was hired as a cel washer on the original "Tom and Jerry" series (not the Hanna/Barbera series).
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Beginning in junior high school, Jenkins took interest in photography, painting, and screen-printing. At age 20, while interning at a commercial production company, she heeded a suggestion that she could receive film training if she worked on set for free. After doing so for some months, Jenkins advanced to second assistant camera and focus puller, then spent 10 years as a cameraperson. While shooting a Michael Jackson music video, her director of photography recommended she attends the American Film Institute to learn directing.
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Children (including a 10 month old baby), independent police observers and a TV cameraperson (Beth English, KPTV) were deliberately sprayed from as little as one foot away from their face. This was counter to the RRT training and the Kroeker policy. The assistant chief, Greg Clark, put responsibility of the children being pepper sprayed on the parents; complaints were filed with the Bureau but they said no inappropriate behavior had occurred. Mayor Vera Katz, however, began to make changes on how crowd dispersal is handled.
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Each cameraperson also carried digital field recorders and flip cameras to capture the drama on the climb. Cold and altitude were the two environmental factors that presented the biggest challenges. Filmmakers charged batteries at teahouses along the trek, which was an expensive process that required cash only payments in Nepalese currency to pay for electricity. Having had experience on previous expeditions for the IMAX films Return to Everest, and The Alps, director Brown and his crew understood that fascinating story lines often formulate from base camp.
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After graduating from Brown University in 1987 with a BA in Fine Arts and Literature, Johnson entered the filmmaking world in West Africa, where she got her start in both fiction and nonfiction genres. She then studied film in Paris, and went on to be a principal cameraperson for a variety of documentaries, traveling to numerous countries to do so. In total, she has over 40 credits as cinematographer. Including other jobs in the camera and electrical department, she has a total of over 70 credits in different movies.
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Newman started her career as a cameraperson in a summer job for a local station in South Carolina. Newman became a correspondent for The Talk Radio News Service covering briefings at The White House and meetings at Capitol Hill. In Washington, D.C., Newman became a programming assistant for The WB. She was named Tribune Media's "Employee of the Year" in 2002. Newman became a production associate for FRONTLINE and NOW with Bill Moyers broadcast on PBS at Washington Media Associates, a production company. Newman moved to New York City in 2003.
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Delaporte studied at the London School of Economics between 1988 and 1989, and in 1993, she obtained a master's degree in contemporary history. During her screenwriting studies at La Fémis from 1999 to 2000, Delaporte worked as a reporter and cameraperson at the CAPA Agency and collaborated on a number of television shows. In 2006, her short film How Do You Brake Going Downhill? (Comment on freine dans une descente ?) was screened at the 63rd Venice International Film Festival, where it won the Silver Lion for Best Short Film.
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When working on The Last Waltz, camera operators were instructed to turn their cameras off on different intervals, in order to save battery life. One of these instances was during Muddy Waters' set, but Waters's outstanding performance led director Martin Scorsese to spontaneously change his mind, and ordered all cameras to be turned on. Because the cameras took several minutes to fully warm up, most caught only the last few bars of Waters' performance. Kovács, however, either did not hear or disregarded orders to shut down his camera, and was the only cameraperson on set who managed to film Waters' entire performance.
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Sgt. Mark Kruger was revealed to have pepper sprayed Beth English, the KPTV cameraperson in the 2002 protest. After documented aggression against English and another woman the following year, friends began to speak out against him, stating he had been collecting Nazi memorabilia in the early 1980s and that they would drive through the city, yelling racist and homophobic statements at people. The PPB defended Kruger, with spokesperson Brian Schmautz stating "If he's a Nazi, then I'm Saddam Hussein". The city attorney's office tried to quash the Nazi details in a lawsuit, stating it violated Kruger's free-speech and privacy rights.
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Rooney wanted to showcase Sacha's agitation and "freedom to go almost wherever he wants", so she asked Barrett to move freely around the roof. To capture this, Rooney decided that rather using the traditional steadicam, they would use a camera on a gimbal, which would allow the cameraperson to follow Barrett around the roof freely. Rooney thought it allowed Barrett a "sense of movement" and observed that it created flares on the camera, which she wanted. Barrett believed that the use of the gimbal benefited his performance as he could freely "express what Sacha was going through".
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Jessie Maple is considered to be one of the most recognized figure for the civil rights of the African American community and women of color within the film industry. Her film career took off when she first worked as a film editor for the crime drama film Shaft’s Big Score (1972) and The Super Cops (1974) which was based on a book. She continued to work as a film editor for several years but eventually became the only black union cameraperson in her time in New York. With her devoted passion for film and activism growing by the day, Maple and her husband, Leroy Patton, created LJ Film productions, Inc.
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TFC's 2015 slate included All About E, All Eyes and Ears, The Amina Profile, The Armor of Light, The Bad Kids, The Hunting Ground, I Promise You Anarchy, Landfill Harmonic, Naz & Maalik, The New Man, Out to Win, Portrait of a Serial Monogamist, Racing Extinction, The Royal Road, Salero, Seed Money, Tab Hunter Confidential, Those People, Uncle Howard and While You Weren't Looking. TFC's 2016 slate included AWOL, Boone, Cameraperson, Equal Means Equal, Forever Pure, Hooligan Sparrow, Hunky Dory, Icaros, Jewel's Catch One, The Last Laugh, Maya Angelou And Still I Rise, Out Run, A Song For You, Tower, Untouchable and Women Who Kill.
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Typically humanist photographers harness the photograph's combination of description and emotional affect to both inform and move the viewer, who may identify with the subject; their images are appreciated as continuing the pre-war tradition of photo reportage as social or documentary records of human experience. It is praised for expressing humanist values such as empathy, solidarity, sometimes humor, and mutual respect of cameraperson and subject in recognition of the photographer, usually an editorial freelancer, as auteur on a par with other artists.Chevrier, J.-F. (1987a) ‘Photographie 1947: le poids de la tradition', in J.-L. Daval (ed.), L'Art en Europe: les années décisives 1945–1953, pp. 177–89.
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Control Room has been criticized for partisanship and bias. The film is accused of partisan portrayal where "the Al-Jazeera reporters and characters are shown as stronger characters, while the American reporters she chooses are framed as a motley lot, who are seen shallow, or cynical, or inappropriate as they're seen laughing, challenging, doubting, mocking." Questions have also been raised on the sequence where Al Jazeera's cameraperson Tariq Ayoob is killed by a US A10 aircraft circling overhead. Critics have questioned whether it was really a US aircraft that fired the missile, which Noujaim shows, or the sequence of footage was being rearranged and shots from a completely different incident were used to make a completely different point.
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Each fugitive was filmed by a dedicated cameraperson, who followed the fugitives wherever they went. While filming, the production team was split so that the team working with the hunters was separate from the team working with the fugitives, to prevent information passing between the groups and to provide a more realistic experience. In preparing for production, over 800 Freedom of Information requests were submitted to find the location of state-owned CCTV cameras positioned throughout the British mainland. When real footage could not be obtained, Channel 4 cameras captured footage that would have been available to the state, which was stored on a central database for the hunters to access if they wished.
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Antenna Documentary Film Festival was established in 2011. It is an international documentary film festival held annually every October in Sydney, Australia. The festival was set up to promote documentary as an art form, with programming focusing on independent and innovative filmmaking that breaks new ground in the documentary landscape. Films that have had their national or local premieres at Antenna include Minding the Gap, Aquarelle, Cameraperson, Grace Jones: Bloodlight and Bami, Web Junkie, Faces Places, Mr Gay Syria, 5 Broken Cameras, Leviathan and Virunga'. In addition to film screenings, the festival’s program includes talks, masterclasses, and industry-focused events, offering a space for the documentary community to get together to network, learn and develop their filmmaking practices.
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Several local residents talked to India Today and narrated the events of the riots. While the police claimed the situation was under control, the residents contradicted it saying they were still worried and scared about the situation. Zee News which was among the first one to report on the riots had an FIR lodged against its journalists namely editor Sudhir Chaudhary, West Bengal correspondent Pooja Mehta and cameraperson Tanmay Mukherjee though the Sankrail police station didn't confirm any FIR while the New Indian Express presented a copy available to it. A week after the incident, the state government transferred Sabyasachi Raman Mishra, the Superintendent of Police, Howrah (Rural) for allegedly failing to contain the communal riots.
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The film was the product of Deren's and Hammid's desire to create an avant garde personal film that dealt with devastating psychological problems, like the French surrealist films of the 1920s such as Salvador Dalí and Luis Buñuel's Un Chien Andalou (1929) and L'Age d'Or (1930). Deren and Hammid wrote, directed and performed in the film. Although Deren is usually credited as its principal artistic creator, filmmaker Stan Brakhage, who knew the couple, has claimed in his book Film at Wit's End that Meshes was in fact largely Hammid's creation, and that their marriage began to suffer when Deren received more credit. Other sources claim that Alexander Hammid's role in the creation of Meshes of the Afternoon is mainly as cameraperson.
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In 2001, he won the Amnesty International Media Award (news category) for his story on the kidnapping and sale of women in China. He was also awarded the Silver Prize for Investigative Journalism at the 2001 New York TV Festival. In 2004 he was named the Winner of the Rory Peck Award for Hard News for his work with "On Patrol with Charlie Company" in Iraq. In 2007, the Rory Peck Trust inaugurated the Martin Adler Prize, which is awarded annually at the British Film Institute in recognition of Adler's "great talents as a journalist, filmmaker and storyteller". The purpose of the prize is to honour a freelance cameraperson, journalist, fixer, driver or translator for their role in reporting a significant news story, to "raise awareness of the value of the recipient’s work" and to "help them to progress in their career".
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