Name: Cameraperson
Start: 2018-11-22T21:15:00Z
End: 2018-11-22T22:45:00Z
Location: Light House Cinema

Cameraperson

Dublin Feminist Film Festival 2018 - Celebrating 5 YearsREFRAME/REFOCUSTuesday 20th/ Wednesday 21st / Thursday 22ndNovember 2018Dublin Feminist Film Festival has established firm roots on Dublin’s cultural calendar, shining a spotlight on women in film. DFFF promotes and celebrates female filmmakers, hoping to inspire and empower others to get involved in filmmaking.The theme for #DFFF2018 is REFRAME/REFOCUS. Rather than foreground particular topics, our programme this year will feature films not only directed by women, but also shot by female cinematographers. In emphasising the role of the cinematographer, we aim to expand the notion of who 'makes' a film and what 'Films by Women' means, while also raising questions about whether and how films shot by women feature a different or other gaze.Why Cinematography?In 2018 something remarkable happened: Rachel Morrison garnered an Academy Award nomination for Cinematography for her work on the filmMudbound. At first glance, this might not seem so out of the ordinary. Over the last four decades, women have regularly and increasingly been nominated for and won international awards for production roles that had previously been male-only domains. Not so with cinematography, however. Morrison was the first woman ever to be nominated for her work behind the camera inninety yearsof Oscars! Awards aren’t everything of course. But historically speaking, cinematography has been the most difficult filmmaking role for women to break into.And yet for the past several years, some of the most visually exciting films in world cinema have been shot by women. Long-standing talents like Ellen Kuras, Agnés Godard, Caroline Champetier, and Mandy Walker have in recent years been joined by a huge influx of international cinematographers like Quyen Tran, Nanu Segal, Reed Morano, Morrison, and many more.For the Fifth Dublin Feminist Film Festival, we have decided to highlight the role of the female cinematographer. In coming to this decision, we thought about it from several different angles. Does a woman’s camera “see” differently? If much of what makes film so compelling is the visual, can a film be “by” its cinematographer as much as its director? And institutionally and structurally speaking, why has the field of cinematography in particular been so reluctant to accept women into its ranks?Thus we present REFRAME/REFOCUS, wherein we hope to reconsider, not simply the role of the cinematographer in general, but very specifically the role of the female cinematographer and how she lights, frames, and moves through the onscreen space that constitutes our visual filmic experience.To that end, all the films we screen this year – features and shorts – were directedandshot by women. As part of the festival, we’re also featuring a talk by an esteemed academic on female cinematography, and a roundtable discussion with two Dublin-based female cinematographers.It’s important to celebrate the work of Rachel Morrison, and we heartily congratulate her on her achievement. However, as we continue to reconsider the fantastic work that female cinematographers are doing around the world, we hope it will become increasingly clear that one nomination in ninety years simply isn’t good enough.

Dublin Feminist Film Festival 2018

Director and Cinematographer Kirsten Johnson, US 2017 (1hr 42mins)

Light House Cinema

Cameraperson is Kirsten Johnson’s remarkable autobiographical documentary about her life and career as a cinematographer. Winner of the Sheffield International Documentary Festival’s Grand Jury Prize in 2016, the film brings together 20 years of Johnson’s personal and professional footage, weaving together scenes from around the world that have left their mark on Johnson. From the title alone, which reminds us of the gender-bias inherent in the more commonly used term “cameraman,” this unique project allows us to gain insights into the under-represented figure of the female cinematographer. Cameraperson draws our attention to the unseen labour of the cinematographer behind every film, especially in those non-fiction films that make up Johnson’s body of work. Throughout Cameraperson, we see Johnson’s meaningful interactions with her documentary subjects, including the mutual capacity of the cameraperson and the subject to move one another during shared moments of filming. And while Johnson naturally remains invisible for the majority of the film, her presence is palpable through off-screen comments and the various moments when the camera moves, or is moved by, Johnson--as though an extension of the cinematographer’s own body. One of the most globally accomplished women working in cinematography, KIRSTEN JOHNSON has served as the Director of Photography on more than 40 feature-length documentaries. Born in 1956 and based out of New-York where she teaches at NYU, Johnson has served as director of photography on films such as on the Academy Award-winning Citizenfour (dir. Laura Poitras, 2004) and the Tribeca award-winning documentary Pray the Devil Back to Hell (dir. Gini Reticker, 2008). Johnson’s other collaborations with female directors include Deadline (2004), which she co-directed with Katy Chevigny, and The Oath (2010), for which she shared the 2010 Sundance Cinematography Award with Laura Poitras. Johnson also works as a documentary director and producer, including on Cameraperson.

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Cameraperson

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