Word: tripodic
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Sang Kyun Han dragged himself out of bed on Tuesday morning, packed up his cameras, tripod and lenses and lugged all of his equipment to the Pacific Coliseum in Vancouver before the sun rose. A photographer for the Yonhap News Agency in South Korea, Han arrived at 6:40 a.m., hoping for a prime location to shoot pictures of South Korea's gold medal favorite, Kim Yu-na, who wasn't scheduled to compete until that evening. What he wanted was a place just to the right of the judges' table, and he knew he needed to get there early...
This was not the first time an onlooker had launched a dangerous object at Berlusconi. Five years ago, Roberto Dal Bosco was visiting the historic Piazza Navona when he happened upon a small crowd gathered around the Prime Minister on an afternoon stroll. Dal Bosco threw his tripod at Berlusconi, who suffered minor shoulder injuries. But after receiving a letter of apology, Berlusconi publicly forgave his attacker...
There have been cameras pointed at war zones since 1855, when the British photographer Roger Fenton toted his tripod and glass-plate negatives to the scenes of the Crimean War. A few years later, Matthew Brady and his team made their unprecedented record of battlefield deaths and civilian devastation in the Civil War. For most of us, our memories of war in the 20th century are from an image bank of photographs, from D-day to Korea and Vietnam--pictures that not only recorded those wars but also informed the way people felt about them...
...goverment is watching us with one eye. We can see a man on the 4th or 6th floor openly filming the going-ons with a tripod-mounted camcorder. The state takes pictures of us. We show them, in turn, photos of what they have done. Many hold up the pictures of the wounded and killed, gruesome images of blood-covered chests and heads, the young and the middle-aged who have fallen. There is an overhead picture of a plainsclothes basiji rushing at a protester with some kind of club, perhaps even a knife. His face is clearly visible. Some...
...that, the film, which uses the same team Coppola found for the much more daring and romantic Youth Without Youth, looks great. After hundreds of movies and TV shows shot in the shaky-cam style, it's a blessing to find one in which the camera is on a tripod - and almost never moves. That gives Tetro the stateliness of silent films, just as the use of glistening or sepulchral black-and-white brings some of the glamour of classic Hollywood. But Coppola fans want him to recapture the dramatic coherence and operatic grandeur of his most productive decade...