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      <image:caption>From Nomadland. Writer-Director Chloe Zhao. Cinematography Joshua James Richards</image:caption>
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      <image:caption>From Nomadland. Writer-Director Chloe Zhao. Cinematography Joshua James Richards</image:caption>
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      <image:caption>From Nomadland. Writer-Director Chloe Zhao. Cinematography Joshua James Richards</image:caption>
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      <image:caption>From Gangs of New York. Martin Scorsese. Cinematography Michael Bauhaus.</image:caption>
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      <image:caption>From Sirāt. Co-Writer-Director Oliver Laxe. Cinematography: Mauro Herce.)</image:caption>
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      <image:caption>From PERFECT DAYS. 2023. Director: Wim Wenders. Screenwriters: Wenders, Takuma Takasaki. Cinematography: Franz Lustig.</image:caption>
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      <image:caption>From Anora (2024). Writer-Director Sean Baker. Cinematography Drew Daniels. (Main characters centre frame, in sharp focus, mid-deep.)</image:caption>
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      <image:caption>Alan Bates in John Schlesinger’s “An Englishman Abroad” (1983). Screenplay: Alan Bennett | Production company: British Broadcasting Corporation (BBC)</image:caption>
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      <image:title>Blog - Cinema: Refreshing the Viewer’s Visual Palate - Make it stand out</image:title>
      <image:caption>From AFTERSUN 2022, Writer-Director Charlotte Wells, Cinematographer Gregory Oke.</image:caption>
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      <image:caption>Frames within the frame in AFTERSUN</image:caption>
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      <image:caption>Anamorphic lens flare in MOONLIGHT, 2016, Writer-Director Barry Jenkins, Cinematography James Laxton.</image:caption>
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    <lastmod>2025-02-25</lastmod>
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      <image:caption>My two books for the fiimmaker</image:caption>
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    <lastmod>2025-02-24</lastmod>
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      <image:caption>From “In the Mood for Love” (2000) | Writer-Director-Producer Wong Kar-wai. Cinematography Christopher Doyle, Ping Bin Lee.</image:caption>
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      <image:caption>Sergei Eisenstein (1898–1948). Andrei Tarkovsky (1932–1986) | Images: Wikipedia, Philosophical Film Festival.</image:caption>
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      <image:caption>From Bresson’s Pickpocket, Cinematography Léonce-Henri Burel</image:caption>
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      <image:caption>From Ophuls’ Earrings of Madame de… Cinematography Christian Matras.</image:caption>
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      <image:caption>The Electric Cinema, Portobello Road, Notting Hill, London. Est. 1911. (In better nick than during my days there) | Photo by Ewan Munro on Wikimedia (CC BY-SA 2.0)</image:caption>
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    <lastmod>2024-10-04</lastmod>
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      <image:title>Blog - Cinema: Subjective, Objective Points of View - Make it stand out</image:title>
      <image:caption>From Three Colors Blue. 1993. Director Krzysztof Kieślowski. Screenwriters Krzysztof Piesiewicz, Krzysztof Kieślowski. Cinematography Sławomir Idziak.</image:caption>
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    <lastmod>2024-08-12</lastmod>
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      <image:caption>Photo by Joe Roberts, Unsplash</image:caption>
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    <lastmod>2024-08-12</lastmod>
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      <image:caption>Photo by wuz on Unsplash</image:caption>
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    <lastmod>2024-07-15</lastmod>
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      <image:title>Blog - The Cinema of Vulnerability - Make it stand out</image:title>
      <image:caption>From The Teacher’s Lounge. Writer-Director Ilker Çatak. Cinematography Judith Kaufmann. (Image Sony Pictures Classics)</image:caption>
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    <lastmod>2024-06-24</lastmod>
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      <image:title>Blog - It was like something in a movie! So… what is that something? - Make it stand out</image:title>
      <image:caption>From Perfect Days directed by Wim Wenders, Screenplay Takuma Takasaki, Cinematography Franz Lustig (Picture from Free Stone Productions Co.)</image:caption>
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    <loc>https://www.filmdirectingclass.com/blog/lets-think-of-cinemas-screen-as-a-language</loc>
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    <lastmod>2024-06-19</lastmod>
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      <image:title>Blog - Let’s Think of Cinema’s Screen as a Language - Make it stand out</image:title>
      <image:caption>From Vertigo (1958). Alfred Hitchcock. Screenplay: Alec Coppel, Samuel Taylor. Cinematography: Robert Burks.</image:caption>
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    <lastmod>2024-06-19</lastmod>
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      <image:title>Blog - Is Negative Space in Cinema Truly Negative? - Make it stand out</image:title>
      <image:caption>(From AFTERSUN, 2022, Writer-Director Charlotte Wells, Cinematographer Gregory Oke.)</image:caption>
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      <image:title>About - 23 years of Filmmaking Teaching</image:title>
      <image:caption>I have always sought to respect, nurture and facilitate the individual vision, sensibility and talent of the students with whom I work. I believe it is the job of the teacher to make the student the filmmaker they need to be, not to for them to become a clone of the teacher. I believe the teacher needs to listen as well as speak, so they may best serve the needs and aspirations of the student, revealing to them the tools and resources that will take them forward.</image:caption>
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      <image:title>About - Internationally Recognized Classes</image:title>
      <image:caption>As well as teaching AFI Conservatory “Fellows” from all over the world — North America, Central and South America, Africa, Asia, Australasia and Europe, I have recently taught sessions in China, and attract filmmakers from across the globe to my online courses. I have enjoyed being a lead instructor with Sundance Collab, as well as being an educator with the Rising Voices program.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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