As if sculpting a formless body of thoughts into a palpable conformation of visions, a film director projects a textured intellectual surface on a motion picture's transparent kinesiology. Standing across, at the viewer's position, you drift in the film's conceptional background, usually ignoring the constantly observing eyes and controlling hands of the recording medium.
Camerawork, in its flexible and diverse function, constitutes the vehicle that delivers a filmmaker's story in the same prompt way that language expresses the cerebrations of a writer. From a static, carefully portrayed close-up to an unprocessed long take, and from the geometric harmony of Mise-en-scène to the dazzling effect of hand-held shooting, the camera movement comments upon emotion, intention, body, expression, rhythm, depth, script prospect, e.t.c.
