Paul is a cinematographer and editor from Dublin, Ireland. He is highly experienced in short films (fiction and experimental), music videos, and documentary. Paul explores a diverse range of styles which can be seen across his work and always seeks to collaborate and develop in all areas of his craft. Specialising in cinematography and minoring in editing at the National Film School, Paul took the opportunity to maximise these skills and also gain invaluable experience in all roles and areas of these departments.
Get ready to fall head over heels for Kemi, the ultimate fan girl of the hottest boy band around -'WHYNOT'! Her world is turned upside down when she receives devastating news - her beloved band is splitting up! Kemi's heartbroken, but she's not giving up on her dreams just yet. She's determined to meet the love of her life, the band's frontman COLE, one last time. Kemi's God-loving mother, Esther, may not understand her daughter's obsession, but that won't stop Kemi from pursuing her passion. Along the way, both mother and daughter discover that their idols aren't quite what they seem. As they clash over their pursuits, they come face to face with the harsh reality of their idols.
This thesis is a study of camera movement and how this affects mood, tone and character agency. Often used by cinematographers and filmmakers to communicate feeling and narrative in a more creative and stylistic way, compared to other narrative techniques.
The first chapter examines the history and evolution of camera movement beginning in 1904 with the ‘cinema of attractions’. This showcased the abilities and possibilities of the moving picture. It continues on to study camera movement in the 1950’s, with Miss Oyu (1951) a Japanese drama, before finishing in 1999 with The Matrix (1999) and the introduction of special effects in cinema.
The second chapter is a case study of the film Whiplash (2014), this film utilises camera movement as a stylistic and narrative tool throughout its 107 minute run. Camera movement is used to communicate the feelings and emotions of characters, to convey narrative, character agency and most notably to create (and heighten) tension on screen.
This leads into the third chapter which is a study of camera movement in horror film. Using two recent releases, Smile (2022) and Nope (2022), this chapter highlights the use of camera movement as a means to increase the fear and tension on screen for the audience.
This thesis is an in depth study of how camera movement can be used not only as a stylistic tool but as a narrative tool and how it can communicate feelings and moods across the screen to the audience.