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Dún Laoghaire
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Katelyn Markham O'Halloran 

BA [Hons] Film + Television Production

Dublin native and cinematographer, Katelyn Markham-O’Halloran describes her style as “normal”. What this really means is that her cinematography is embedded firmly within the perverse. With the viewer in mind she is inherently aware that the lens can capture the most intimate and absurd. Comfort is a privilege however, so she doesn't stray away from documenting the taboos of Irish society. She is fascinated by how movement protesting within space can artistically and authentically force the voyeur to confront bias while illuminating untold stories. This applies to her photography also (where she coincidentally investigates the culture of dogs).

Vixen (2023) Worked as cinematographer. Directed by Tadhg McDonough Cunningham. "Over the course of a day, Nuria watches her boyfriend, Calvin drift away from her."
Vixen
Vixen
Vixen
Vixen
An homage to Carrie's infamous dress directed by costume designer Lily O'Neill. Director of Photography.
Dance film made in conjunction with model maker Mara Matagne. Director of Photography.
DoP on A Saddle for Two (2022). Directed by Ian Fallon. "A pathetic attempt at a robbery brings together two lonely cowboys in search of comfort in the barren desert."
Vixen

Vixen is Katelyn's graduate film as Director of Photography.

Shot on Alexa Classic with Sony CineAltas.


Patriarchy and Perversion : Alfred Hitchcock's Fascination with Voyeurism.

This dissertation interrogates Alfred Hitchcock’s fascination and obsession with blonde women under the guise of his thematic exploration of voyeurism in his films. It will do so by looking at two of his most notable films and discussing them in context to his fetishes; Rear Window and Vertigo.

Through studying these films, the dissertation takes a look at Hitchcock’s distinct cinematic language, and asks how he places the audience as both active (alongside the protagonist) and passive (individual watching) spectators.

While I will acknowledge Hitchcock’s contribution to the suspense thriller genre through discussion of his ‘suspense over surprise’ motif, I will prove how his work as an auteur is ultimately not above the long lasting and detrimental impact he had over the women he cast in his films – in particular Tippi Hedren.

Film + Television Production
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