Exposing the world through Emanuel Lubezki's method





cinematographic frame, Lubezki, focusing, immersion, fluid camera


This article is based on the concept of exposing the world through the lens of cinema by a cinematographer. Without a cinematographer, movies are not as visually and emotionally impactful on audiences. Cinema is trying to penetrate beyond things and create an utterly phenomenological experience. Cinematographers are responsible for creating the audience's emotions through various cinematic techniques. It is perhaps one of their most significant roles is to promote the cinematic frame as a mediator. This research claims that the cinema’s camera illuminates the world through focusing and framing components. It provides the cinematic image with a cinematic presence and makes it feasible in a phenomenological sense (return to things themselves). And eventually, this leads to viewer buoyancy and immersiveness. 


Bordwell, David. “Intensified Continuity: Visual Style in Contemporary American Film.” Film Quarterly 55.3 (2002): 16-28. Print.

British Cinematographer. (2017, August 15). Grizzly adventure: Emmanuel Lubezki AMC ASC,

“The Revenant.” Retrieved from https://britishcinematographer.co.uk/emmanuel-lubezki-amcasc-the-revenant/

Clarke, J. (2017). Elegies to cinematography: The digital workflow, digital naturalism and recent best cinematography Oscars. In J. Graham & A. Gandini (Eds.), Collaborative production in the creative industries (pp. 105-124). University of Westminster Press.

Keating, P. (2010). Hollywood lighting from the silent era to film noir. Columbia University Press.

Lubezki, E. (2011). The light fantastic. Sight & Sound, 21(7), 22–23

Lubezki, E. (2016). ARRI. https://www.arri.com/news-en/emmanuel-lubezki-asc-amc-on-birdman-

O’Falt, C. (2020, January 6). Working with Malick: Inside the dance between camera, actor, and light in A Hidden Life. Retrieved from https://www.indiewire.com/2020/01/a-hidden-lifeterrence-malick-process-cinematographer-jorg-widmer-valerie-pachner-august-diehl-


Ordo, M. (2015, January 22). Cinematographer Emmanuel Lubezki aimed high on Birdman.

Retrieved from https://www.latimes.com/entertainment/envelope/la-et-mn-en-emmanuel lubezki-20150122-story.html

Robert, B. and G. Jonathan (1996). Notes of the Cinematographer, Quartet Books.

Ruimy, J. (2016, June 11). The visual poetry in the films of Alejandro González Iñárritu ss beautiful & brutal [Video Essay]. Retrieved from https://theplaylist.net/the-visual-poetry-in-thefilms-of-alejandro-gonzalez-inarritu-is-beautiful-brutal-video-essay-20160611/

Siegenthaler, Mallory. “Naturalism in Cinematography: Examining the Work of Emmanuel Lubezki.” Elon Journal of Undergraduate Research in Communications, Vol. 12, No. 1 • Spring 2021

Salisbury, M. (2016, January 6). Emmanuel Lubezki on the grueling shoot of The Revenant. ScreenDaily. Retrieved from https://www.screendaily.com/awards/emmanuel-lubezki-on-thegruelling-shoot-of-the-revenant/5098541.article

Tangcay, J. (2016, June 20). Interview: Cinematographer Emmanuel Lubezki talks shooting The Revenant and Bear Attacks. Awardsdaily - The Oscars, the Films and Everything in Between. https://www.awardsdaily.com/2015/12/18/interview-cinematographer-emmanuel-lubezki-talks-shooting-the-revenant-and-bear-attacks/

The ASC -- American Cinematographer: Lyrical Images. (2013). The ASC. https://theasc.com/ac_magazine/April2013/TotheWonder/page1.html

Thompson, A. (2018, December 14). Cuarón tells Lubezki how he filmed Roma - Even one quiet shot needed 45 camera positions. Retrieved from https://www.indiewire.com/2018/12/romaemmanuel-lubezki-alfonso-cuaron-cinematography-1202028167/




How to Cite

Bagherzadeh, M., Sanati, E., & Naghipour, M. (2023). Exposing the world through Emanuel Lubezki’s method. CINEJ Cinema Journal, 11(1), 193–215. https://doi.org/10.5195/cinej.2023.447