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Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
Jonglazer
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Jonglazer

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  1. JONATHON GLAZER Director Study
  2. WHO HE ISJonathon Glazer is 47years old and was bornMarch 1965.He is an English Directorof Commercialsand MusicVideos, sometimesof Films.
  3. BIOGRAPHYAfter studying Theatre Design at NottinghamTrent University, Glazer started out directingtheatre and making film and televisiontrailers, including award-winning work forthe BBC.
  4. FILMOGRAPHY Sexy Beast (2000) Birth (2004) Under the Skin(2012, forthcoming)He also directed three shortfilms of his own: "Mad""Pool" and "Commission”.
  5. ADVERTISEMENT S Kodak: "Husband To Be"  Volkswagen Polo: "Protection" (January 2000) Pretty Polly: "Linda 2"  Wrangler: "WhateverYouRide" (May 2000) Mazda: "Shock ff the New"  Guinness: "Dreamer" (April 2001) AT&T: "Chief Executives Wife"  Levi Strauss: "Odyssey" (January 2002) Club Med: "City"  Barclays (January 2003): AT&T: "Sales Director"  - "Evil”, "Bull”& "Chicken" Nike: "Frozen Moment" (1996) Nike: "Guerrilla Tennis"  Ad-Aid (for Live Aid, 2004): Cafferys: "New York"  - "Bar”, "Double Don”, "Rant”& “Razor" Nike: "Parklife" (1997)  Stella Artois: "IceSkatingPriests" (April 2006) Guinness: "Surfer" (March 1999), "Swimblack" (May  Sony BRAVIA: "Paint" (October 2006)1999)  Motorola Red (unreleased) (December 2006) Levi Strauss: "Kung Fu" (January 2000)  Sony 3D TV (June 2010) Stella Artois (January 2000):"LastOrders”&"DevilsIsland”
  6. MUSIC VIDEOS To date, Glazer has been recognized for having shot 12Music Videos. Having worked with the likes ofBlur, Radiohead and Jamiroqui, what is typical of glazer ishis choice of camerawork, use of mise-en-scene and editing.
  7. CAMERA WORK Glazer tends to use a lot of close up shots andmid shots to fully portray the tone of the piece. In‘Rabbits in the headlights’ his use of these shotsillustrates the vulnerability of the lead role whichgoes against male objectification conventions. What is typical of Glazer is his cinematic- lookto his videos. This has allowed him to fullycaptivate the tones of the piece, setting it apartfrom usual music videos.
  8. MISE-EN-SCENE By taking everyday environments, Glazer tends to manipulate themwith negative or darker connotations and create surrealism.- For example if we look at Blur’s ‘The Universal’, Glazeruses clinical lighting and costume to create an out-of-place feelto the bar that the band are featured playing in.Theperformance shots are interchanged with scenes of a crowdof ordinary people standing motionless before an oddlyshaped speaker. The evident minimalist take on the videothroughout provides an ‘eerie’ and ‘unsure’ feel for theaudience.
  9. EDITING Slow motion and long shots are used combined with special effectsto create the enigmatic and disturbed feel to the videos.- In the case of Radiohead’s ‘street spirit’ uses an overlap of shots in black and white toillustrate the feel of the piece.In Blur’s video, Glazer uses apicture of a magnet as asymbolic reference to conveylove/lust. This was added inpost-production.
  10. SUCCESSES Since the mid-1990s he has directed a number of musicvideos, and was named MTV Director of the Year 1997. BAFTA Nominations:- Best British Film- Best Director of a British Independent Film.- Satellite Award for Best Director- Independent Spirit Award for Best Foreign Film
  11. STYLE Glazer’s style has been regarded as unique. He sets himself apart with asurreal style that employs lots of long takes, unlike modern cut-a-secondvideos. he has also been known to hire actors for videos which may explainwhy some of his music videos are more like Mini-Movies. This can explainhow he later made a transition to film so fluently. His video tend to be slow-paced but with complex narratives and disturbing themes, which altogetherchallenges the audience.
  12. COMMENTS Glazer’s style of directing is unique and is evidently a contributing factorfor his success. He appears to experiment with his videos in an effort to sparkcontroversy, but to equally shed light on what can be done, without hesitatingto step out of video conventions. Glazer does make an attempt across hiswork to include the features identified in Andrew Goodwin’s theory, whichsuggests that usual conventions are still permitted within Music Videos inorder for an audience to interpret them correctly.

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