Roland Denning is an independent filmmaker and writer based in London. He was a lighting cameraman/ documentary cameraman for two decades, shooting everything from feature drama to rock promos. He still shoots when he can't afford to employ anyone else. His satirical novel, The Beach Beneath The Pavement was published in 2011.
‘Cinematic’ is a term you’ll often find on these pages. It seems to be a look we all aspire to. We could argue about what ‘cinematic’ actually means (the best answer is probably ‘not like video’ - but then video doesn’t look like video anymore) but I’d rather discuss the underlying assumption: cinema is the highest form of the moving image and television is a lowly cousin.
New technologies are making our film and video more immersive than ever, filling our field of vision and pushing the edge of the frame out to the peripheral, even making it disappear entirely. But then, argues Roland Denning, we haven’t been sure where the edges are for some time.
Last year I wrote about Mirage Men, a documentary feature I co-produced, co-directed and co-edited and the trials and tribulations of distribution. Now I am looking at that story again, with particular emphasis on online distribution.
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