As a member of the Belgian cinematographer society, S.B.C., Marijke Van Kets is an internationally acclaimed Director of Photography. Her body of work includes prize-winning feature films, commercials, video clips and her specialty is in stop motion animation films. She lives and works in Singapore and in Brussels, Belgium where she works as freelancer for different film production houses. All of her latest projects were nominated for awards at several film festivals. Marijke taught a variety of cinematography courses during the past 12 years, including digital and analogue film technologies at different universities and film schools. Currently she is assistant professor in cinematography, 16 mm film and advanced cinematography at ADM, NTU, Singapore.
Worked on more than 80 films over the course of 25 years including long feature fiction films, short feature fiction films, creative documentaries, interactive film media, commercials and corporate identity and institutional films. In all these categories, her films were represented in the shortlists and competitions of leading film festivals and many won awards.
She is an expert in track motion control and lighting for animation films. For the film “Femme Papillon" (2000) directed by Virgini Boudin she developed a new digital standard; now used all over Europe.
Research interests include cinematic technique, film language, digital literacy and visual perception.
Joined the RITS, film school in Brussels, Belgium in 1999 and was involved in various projects as tutor and lecturer.
An elected member of the Belgian Cinematographer’s Guild.
Was invited to conduct numerous cinematography workshops at SAE institute in Brussels and in Singapore.
Designed and taught several courses for the LaSalle College of the Arts, the Puttman school of film and SAE institute, Singapore.
Was a lector for the Master students of Communication Science for their final year project at the University UGent, Ghent, Belgium.
|Research on Cinematography|
A study on the perception of cinematic technique and its influence on film language.
The research focuses on the use of cinematic technique by the director of photography when shooting a feature film. Is this juggling with technical properties: lenses, lights, speed, shutter, f-stop and so on, effective? Can cinematography influence how audiences perceive movies?
I argue that the application of cinematic technique adds additional layers of meaning, nuance and emotional context to shots and scenes along with their objective content. The study also suggests that the use of cinematographic differentials like composition, three-dimensional field and lens language, contributes to the film language.