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Shaky camera,〔Mekas, Jonas. "A Note on the Shaky Camera." ''Film Culture'', issues 24-27, 1962.〕 shaky cam,〔 queasy cam,〔http://www.theaustralian.com.au/arts/queasy-cam-face-off-for-david-williamson-adaptation/story-e6frg8n6-1226131424508〕 queasicam, hand-held camera or free camera〔 is a cinematographic technique where stable-image techniques are purposely dispensed with. The camera is held in the hand, or given the appearance of being hand-held, and in many cases shots are limited to what one photographer could have accomplished with one camera. Shaky cam is often employed to give a film sequence an ad hoc, electronic news-gathering, or documentary film feel. It suggests unprepared, unrehearsed filming of reality, and can provide a sense of dynamics, immersion, instability or nervousness.〔 The technique can be used to give a pseudo-documentary or ''cinéma vérité'' appearance to a film.〔 Too much shaky camera motion can make some viewers feel distracted, dizzy or sick.〔〔 ==History== (詳細はphotography have relied on firm, stable mountings for a jitter-free image. Great effort is spent to obtain a perfectly stable image.〔(Nulph, Dr. Robert G. "The End of the Shaky Camera". ''Videomaker'', March 2004. )〕 However, experiments with hand-held camera began as early as 1925 with Ewald André Dupont's ''Varieté'' and Abel Gance's ''Napoléon''.〔 Hand-held camera movements became more prominent in some feature films of the 1960s, including a number of John Cassavetes-directed films. Jonas Mekas named and defended the "shaky camera" work of avant-garde filmmakers, writing in ''Film Culture'' in 1962 that he was "sick and tired of the guardians of Cinema Art" accusing the new cinematographers of poor camera skills.〔 Mekas saw it as an inexpensive improvisational technique, one that allowed for greater artistic and financial freedom.〔 Other examples of 1960s hand-held usage include ''The Miracle Worker'', ''Seven Days in May'', ''The Battle of Algiers'' and ''Dr. Strangelove''.〔 The Japanese filmmaker Kinji Fukasaku was known for using shaky hand-held camera shots as a trademark in many of his films, most notably 1970s yakuza films such as ''Battles Without Honor and Humanity'' as well as in ''Battle Royale''. The "shaky cam" style was named, and given new energy, in 1981.〔 In the film ''The Evil Dead'', director Sam Raimi ordered Tim Philo, his cinematographer, to bolt a camera to a two-by-four-inch piece of lumber, 22 inches long, and have two strong grips hold it and run down a city block, bumping over fallen bodies, following a female character, after which the camera was swung roughly around to go the other way.〔Muir, John Kenneth. ''The Unseen Force: the films of Sam Raimi,'' pp. 81, 303–306. Hal Leonard Corporation, 2004. ISBN 1-55783-607-8〕 Another shaky camera effect invented on that film was one the crew called "Blank-O-Cam", where the cameraman would lie on a blanket and be carried in it by four grips, the camera pointed forward near ground level to track people's feet.〔 Further shaky cam techniques were employed by Raimi on his subsequent films including ''Crimewave'' in 1985.〔Von Busack, Richard. ("Fresh 'Blood': The re-release of 'Blood Simple' shows the Coen brothers learning the ropes." ) ''Metroactive.com'' Movies. July 13–19, 2000. Retrieved on October 2, 2009.〕 In 1984, the Coen brothers and their cinematographer Barry Sonnenfeld used shaky cam techniques in ''Blood Simple'', then again in 1987's ''Raising Arizona''.〔 Woody Allen's improvisational style of filmmaking was matched with hand-held camera techniques in ''Husbands and Wives'', shot by Carlo Di Palma in 1991 and 1992.〔 The film's opening scene uses the hand-held style to achieve a sense of "free-floating anxiety and terminal loss of moorings."〔Bailey, Peter J. ''The Reluctant Film Art of Woody Allen'', pp. 188, 193, 303. University Press of Kentucky, 2003. ISBN 0-8131-9041-X〕 Reviewers joked that Dramamine was required to prevent motion sickness.〔 Allen and Di Palma continued to use the technique but with more finesse and restraint〔 on ''Manhattan Murder Mystery'' and subsequent films throughout the 1990s to save time spent on principal photography, and to stay within budget.〔Meade, Marion. ''The unruly life of Woody Allen: a biography'', p. 13. Simon and Schuster, 2000. ISBN 0-684-83374-3〕 In 1994, the TV series ''ER'' employed shaky camera techniques, as did the 1996 disaster film ''Twister''.〔Burke-Weiner, Larry. (''How the Masters Move: Creative Camera Play'' ), Videomaker.com. July 1997. Retrieved on October 2, 2009.〕 Danish director Lars von Trier used shaky camera, called ''free camera'',〔 in his movies. The ''Dogme 95'' movement he co-created in 1995 was partly based on the technique. Trier's 2000 film ''Dancer in the Dark'' was criticized for having too much shaky camera motion.〔Bordwell, David; Kristen Thompson. ("Unsteadicam chronicles." ) ''Observations on film art,'' August 17, 2007. Retrieved on October 2, 2009.〕 Janusz Kamiński, cinematographer for Steven Spielberg on 1998's ''Saving Private Ryan'', used a traditionally-shot scene of a modern-day cemetery to open the film. For the initial action sequence, he used the hand-held camera technique to depict the gritty intensity and brutality of the 1944 Normandy beach assault on D-Day, from the boat to the beach and beyond.〔Nix. ("Saving Private Ryan (1998) Movie Review." ) ''BeyondHollywood.com'', May 25, 2002. Retrieved on October 2, 2009.〕 The 1999 film ''The Blair Witch Project'' made extensive use of shaky cam to make the film look like recovered documentary camera footage. In 2009 the Dutch movie ''Winter in Wartime'' (film) (released in the USA in 2010) made use of the shaky cam. The 2009 films ''Rampage'' and ''Darfur'' make much use of the shaky camera. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Shaky camera」の詳細全文を読む スポンサード リンク
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