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HD EXPO talks with Alexis Krasilovsky about Women Behind the Camera
World Premiere of WOMEN BEHIND THE CAMERA: For more information about WOMEN BEHIND THE CAMERA, visit: www.womenbehindthecamera.com Insert your email (required)Subject Comments Insert email of your friends (required)
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Making the documentary WOMEN BEHIND THE CAMERA became a decade-long, life-changing journey for Alexis Krasilovsky, a filmmaker, author and professor. Inspired by courageous women who sought and held jobs as camerawomen in the male-dominated world of cinematography, Krasilovsky set out to document 50 women DP’s and camerawomen around the world. In the process, she gained a profound appreciation for the resonance of their stories as well as a global obsession. WOMEN BEHIND THE CAMERA shot in Afghanistan, Austria, Canada, China, England, France, Germany, India, Iran, Japan, Mexico, the Philippines, South Korea, Senegal, and the US.
WOMEN BEHIND THE CAMERA chronicles known cinematographers including Ellen Kuras, ASC; Amy Vincent, ASC; and Nancy Schreiber, ASC; but also offers a global perspective, with interviews of Chinese camera operators who traveled with Mao, Russian documentarians, director Agnès Varda, and Afghan women who shot secret footage of the Taliban. What moved her the most? Krasilovsky remembers the day her perspective changed. “I was in Ahmedabad, India and was introduced to the camerawomen of Video SEWA, the Self-Employed-Women’s-Association. SEWA had arisen to help villages survive a devastating earthquake that killed nearly 20,000 people and was followed by a severe drought. Armed only with cameras, these women influenced policymakers and saved their villages. Their heroic actions drastically changed my outlook on the project as a whole, and made me profoundly aware of the interconnectedness of all of us.”
Krasilovsky noted that the feature was shot on Mini DV and edited in Final Cut Pro. Production utilized every format, but eventually converted to NTSC for editorial. Krasilovsky noted, “We started the project on a Nagra, thinking we’d go back to 16mm and sync. It didn’t unfold that way, we didn’t get the funding for film, and we had access to professional DV. If we were starting today, we would definitely shoot in HD, but it wasn’t an option in 1998. SEWA was also the illustration of the digital revolution in action.” 