jonglazer
Post on 05-Dec-2014
444 Views
Preview:
DESCRIPTION
TRANSCRIPT
JONATHON GLAZER
Director Study
Jonathon Glazer is 47 years old and was born March 1965.
He is an English Director of Commercials and Music Videos, sometimes of Films.
WHO HE IS
B I O G R A P H Y
After studying Theatre
Design at Nottingham Trent
University, Glazer started out
directing theatre and making film
and television trailers, including
award-winning work for the BBC.
F I L M O G R A P H Y
Sexy Beast (2000)
Birth (2004)
Under the Skin
(2012, forthcoming)
He also directed three short films of his own: "Mad" "Pool" and "Commission”.
A DV E RT I S E M E NT S
Kodak: "Husband To Be"
Pretty Polly: "Linda 2"
Mazda: "Shock ff the New"
AT&T: "Chief Executive's Wife"
Club Med: "City"
AT&T: "Sales Director"
Nike: "Frozen Moment" (1996)
Nike: "Guerrilla Tennis"
Caffery's: "New York"
Nike: "Parklife" (1997)
Guinness: "Surfer" (March 1999),
"Swimblack" (May 1999)
Levi Strauss: "Kung Fu" (January 2000)
Stella Artois (January 2000): "Last Orders”
& "Devil's Island”
Volkswagen Polo: "Protection" (January
2000)
Wrangler: "Whatever You Ride" (May
2000)
Guinness: "Dreamer" (April 2001)
Levi Strauss: "Odyssey" (January 2002)
Barclays (January 2003):
- "Evil”, "Bull” & "Chicken"
Ad-Aid (for Live Aid, 2004):
- "Bar”, "Double Don”, "Rant” &
“Razor"
Stella Artois: "Ice Skating Priests"
(April 2006)
Sony BRAVIA: "Paint" (October 2006)
Motorola Red (unreleased) (December
2006)
Sony 3D TV (June 2010)
M U S I C V I D E O S
To date, Glazer has been recognized for
having shot 12 Music Videos. Having worked
with the likes of Blur, Radiohead and
Jamiroqui, what is typical of glazer is his
choice of camerawork, use of mise-en-scene
and editing.
CAMERA WORK
Glazer tends to use a lot of close up shots
and mid shots to fully portray the tone of
the piece. In ‘Rabbits in the headlights’ his
use of these shots illustrates the
vulnerability of the lead role which goes
against male objectification conventions.
What is typical of Glazer is his cinematic-
look to his videos. This has allowed him to
fully captivate the tones of the piece,
setting it apart from usual music videos.
MISE-EN-SCENE
By taking everyday environments, Glazer tends to manipulate
them with negative or darker connotations and create
surrealism.
- For example if we look at Blur’s ‘The Universal’, Glazer
uses clinical lighting and costume to create an out-of-place feel
to the bar that the band are featured playing in. The
performance shots are interchanged with scenes of a crowd
of ordinary people standing motionless before an oddly
shaped speaker. The evident minimalist take on the video
throughout provides an ‘eerie’ and ‘unsure’ feel for the
audience.
EDITING
Slow motion and long shots are used combined
with special effects to 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 to illustrate the feel of the piece.
In Blur’s video, Glazer uses a picture of a magnet as a symbolic reference to convey love/lust. This was added in post-production.
S U C C E SS E S
Since the mid-1990s he has directed a number of music
videos, 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
S T Y L E
Glazer’s style has been regarded as unique. He sets
himself apart with a surreal style that employs lots of long
takes, unlike modern cut-a-second videos. he has also been
known to hire actors for videos which may explain why
some of his music videos are more like Mini-Movies. This
can explain how he later made a transition to film so
fluently. His video tend to be slow-paced but with complex
narratives and disturbing themes, which altogether
challenges the audience.
C O M M E N T S
Glazer’s style of directing is unique and is evidently a
contributing factor for his success. He appears to experiment
with his videos in an effort to spark controversy, but to equally
shed light on what can be done, without hesitating to step out of
video conventions. Glazer does make an attempt across his work
to include the features identified in Andrew Goodwin’s theory,
which suggests that usual conventions are still permitted within
Music Videos in order for an audience to interpret them
correctly.
top related