German Society of Cinematographers
Cinematography is a neologism made up of the ancient Greek words „kinema“, which means movement, vibration, inner emotion, and „graphe“, which means to draw, paint or write.
German Society of Cinematographers
The „German Society of Cinematographers“ (BVK) is the official reprensentation of Directors of Photography in germany and other members of camera-crews.
More than 500 members in different jobs in cinematography are organized within the BVK and are represented in professional policy and copyright matters by their society.
The BVK is acknowledged in politics and film bussiness as a competent partner and offers with more than 50 supporting companies an excellent professional networking in the field of manufacturers and service providers.
OUTLINES OF DUTIES
MAIN Activities
Aims and Duties of the BVK
- Collegial Dialogue and Discussions
- Securing working conditions that allow artistic-creative work
- Development of professional „Outline of Duties“ in the field of cinematography
- Collaboration in media- and compyright legislation
- Implementation of work- and copyright law in the field of cinematography
- Representation in specialist committees
- Negotiations and conclusion of collective agreements
- Advising members on professional matters
- Interdisciplinary events with other associations/socienties
- Organization of seminars, workshops and excursions
- Monthly regional meetings in almost all film regions
- Press and public relations for the reputation of the professional field
- Publication of the annual CameraGuide and running an extensive website
- Organization of symposias and workshops
Activities and Memberships of the BVK
- Journalistic work through our BVKMEDIEN GmbH
- International networking via IMAGO – European Federation of Cinematographers
- Co-organizer of the „Marburger Kameragespräche“ (with Marburger Kamerapreis)
- Cooperative partner of CAMERIMAGE Internat. Festival of the Art of Cinematography
- Collaboration in the VG Bild-Kunst (Board of Directors, Cultural Work, Social Work, etc.)
- Working groups with other professional associations
- Collaboration in the Copyright Initiative
- German museum for Photography and Film, Deidesheim
- Paul-Klinger artist’s social work
- Cooperation with the Pension Fund Broadcasting and press
- Advisory Network for Film and Television (Employees, Self-employed, Filmmakers)
- BVK is professional in the field of expertises
History of the BVK
Cinematographers traditionally see themselves as lone wolves. They devise devices that do not exist on the market and create new areas of application for those used in traditional techniques. They take care to pass on their knowledge and experience to the next generation. They negotiate their contracts and often fight for more sensible framework conditions for their respective projects, which make their work easier, improve the result and thus help a film to have a deeper impact on the viewer. During the shooting phase of a film, they are the director’s most important collaborators and are primarily responsible for the visual realization of the script.
In view of the increasing concentration in the film and television industry, it has already become apparent in the past that a lone fighter is too weak to sustainably achieve all of these goals. It became necessary to maintain closer contact with each other and to found a professional association.
There had already been such associations of cameramen in Germany in the past: Guido Seeber was the initiator of the Club Deutscher Kameramänner before the Second World War (there were no camerawomen back then, which has now sensibly changed completely). During the Third Reich, the CDK was dissolved and transferred to the Labor Front.
After the war, a group led by Walter Pindter, Franz Koch, Friedl Behn-Grund and Ernst W. Kalinke refounded the CDK. This example was followed by other film professions. Under the name DACHO, an umbrella organization of practically all professional groups working in film was created.
At this time, the film industry was experiencing a strong upswing, employment in the industry was booming and everyone was busy. Unfortunately, as the years went by, there was a clear sense of association fatigue and many believed they could manage on their own.
Television now increasingly took over the role of the movie theater, and attendance figures fell rapidly. Productions inevitably had to adapt to new structures. They also had to adapt to new requirements and a new television aesthetic emerged.
This also affected the cameramen, even if good photography, mastery of the technical means, dramaturgical knowledge and knowledge of artistic realization naturally remained the prerequisite for interesting engagements. However, they were faced with a new production landscape and had to react to its requirements.
Again, the realization arose that many things could be better mastered together. The BVK – Bundesverband Kamera was founded in Munich in 1980. Colleagues from Berlin and Hamburg quickly joined. The board initially carried out the association’s work at their desks at home. However, it soon became apparent that a permanent office with a permanent member of staff was indispensable for the truly effective pursuit of the envisaged goals. With the gratifyingly rapid growth in the number of members and the constantly expanding fields of activity, it became necessary and possible to hire a managing director and expand the number of permanent staff. In contrast to many camera associations, the BVK also accepts operators, Steadicam operators, camera assistants, DITs, data assistants and colorists/graders as voting members.
Today, the association enjoys a high reputation in the professional community. It is increasingly being consulted by other associations and government agencies when it comes to the interests of the industry – and acts as an „expert body“ for courts and authorities.
The BVK is a founding member of IMAGO. It is a member of the Administrative Board of Verwertungsgesellschaft Bild-Kunst and is represented on the German Cultural Council. It offers its members further education and general information events on many topics. The BVK influences collective agreements, legislative projects, equipment development in the industry, current post-processing standards and much more in a variety of ways.
The CameraGuide, published annually by bvkmedien GmbH, is widely distributed. Since its first publication, this reference work has served as a model for similar guides published by various national and international film associations. The CameraGuide is not only available on almost all desks in the industry, it is also accessible on the Internet in a constantly updated form.
In 2012, the BVK was renamed the „Professional Association of Cinematography“ because the responsibility and content of our professional activity is more clearly reflected in the term „cinematography“ than in the purely technical term „camera“. The digitalization of production has also given rise to new areas of work in our profession.
Looking to the future, the BVK is strongly committed to enforcing the copyright of cinematographers. As an authors‘ association, it not only stands alongside the other professional associations, but also strives for dialog and targeted development of our industry with the producers‘ associations and work users, such as television broadcasters.
Many of the problems facing the profession and the entire film industry need to be solved – and some of them require a great deal of patience. However, what we have achieved so far gives us courage and confidence.
Wolfgang Treu in November 2012
Translated with DeepL.com (free version)
Cinematography - an approach
Cinematography is an art form that is exclusive to film. It requires a unique form of photography with original aesthetic principles. Technically speaking, it adds a third dimension to the two-dimensional photographic image by being able to record an image that changes over time and is thus able to depict the temporal sequence of an event or movement.
The term is based on movement and yet cinematography goes far beyond the recording of movement. In the origin of the word, it does not refer to the mechanics of the apparatus, but to the recording of an inner movement, the writing down of an emotion or a thought. (Rolf Coulanges) The deeper, actual task of cinematography is to give the film work a meaning through the sequence of images – whether in a planned sequence, within each individual shot, or through the sequence of several shots – that transcends the sum of the individual images and corresponds to the cinematographer’s and director’s expressive intention.
Rolf Coulanges explains: This becomes clearest in the plan sequence; its characteristic consists only indirectly in the movement on the rail, on the crane or with the Steadicam. All movement is borne by a feeling for space, time and the development of thought; the moment at which this inner movement arises is the experience of space and the change of perspective by shifting one’s own point of view, which may also be understood literally. The „Kinema“, the inner movement, is not, however, limited to its realization in the plan sequence. Movement also occurs between fixed shots when they are put together to form a sequence, because images react to each other in their sequence whenever they have an inner connection with each other.
Cinematography is a process of creativity and interpretation that results in the co-authorship of an original work, as opposed to the mere unreflected, uncritical depiction of an external event.
Cinematography is not a subcategory of photography; rather, photography is one of many artistic skills that the cinematographer uses – in addition to other physical, organizational, managerial, interpretive and image-influencing techniques – to effect a coherent, cohesive process that ostensibly results in the recording of moving, photographic image sequences.
On a deeper level, cinematography creates contexts of meaning, feelings and ultimately an interpretation of reality through artistic expression. The aforementioned technical and organizational parameters must follow this purpose.
Cinematography therefore has a superordinate level of content above and beyond the photographic level and the temporal component – which need to be designed in equal measure. Sequences of events must therefore be recorded appropriately with regard to the content to be conveyed and the respective actions in front of the camera must be coordinated and choreographed with the camera movements. Fundamental cinematographic decisions must be made as to whether the camera follows the scenic action or moves autonomously, whether it describes, reacts or acts. The lighting, the composition of the scenery and the perspective not only have to take into account the requirements of the moving objects, the moving camera and the resulting changes in the image details, but ultimately always those of the statement that is to be made.
Johannes Kirchlechner 2013
Sources: Greek Dictionary of Philosophy; ASC; Rolf Coulanges
Translated with DeepL.com (free version)