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Assignment 01

Video essay : Analysis of German Expressionism film movement (especially on modern day films)

#assignment 1 #video essay #german expressionism #video

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wong kar-wai

> characters are shown on different planes (& moving in different directions) 

> visuals take over

 > emphasis on time 

> movement of characters (opposite direction to transport / standing still in time) 

> significant use of props 

 - eg. use of police hat in days of being wild 

> gives actors the liberty to move within the space, tone (working relationship) 

- actors interpret actively 

- eg. fringe falling in mei’s face in days of being wild (concealment) 

> timelessness of jobs 

- working at different points of the day 

>idea of reaching out through proposals 

> camera movements (adhered to the scene, captures the essence of life)

 - high angle shots 

- long shots 

- trekking shots

 - pan shots 

 - use of blocking (implies intimacy) 

 > characters are brought together with no distinct distinction

 - timelessness

 > pillar shots 

> broken images (light reflecting off glass) (2048) 

- refracted time 

- different take on the present 

- glass is fragile

#wong kar wai #directors #stylistic #notes #shots #camera

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film editing

what is editing?

 - coordination of one shot with the next 

- deleting of unwanted footage

 - continuity editing (how you sequence scenes to fit together) 

- cross-cutting (brings about a dramatised concept)

academic terms 

- graphic relationship (graphical match) 

- rhythmic relationship (visual and sound) 

- spatial relationships (within the film, cross cutting) 

- temporal relationships (time & space, flashbacks, flash-forward)

rules of editing / zone theories  (e.g.. walter murch) 

1. emotion (how one shot relates emotionally to the audience)

 2. story 

3. rhythm 

4. eye trace (how your eye follows the scene) 

5. two dimensional place of screen ( is it followed properly?)

editing theories 

-  ellipsis 

> narrative device and most basic idea 

> omission of a section of the story which is obvious enough

> creates suspense 

d.w. griffith, sense of cinema *** (film as enhanced theatre within space and time) -  best technique : moves from an establishing shot to a mid shot and then to a close up

kuleshov

 - intensification of longer shots 

> instills emotion, references of emotion

sergei eisenstein (communication of  abstract ideas) 

- soviet montage theory (sees montage as a collusion of conflict to create another idea, and repeat)

 > putting together different shots to make a new meaning 

> free of associations 

> thesis, antithesis, synthesis 

> presumptive statement, opposing force and resolution 

 > don’t just create meaning but supports a narrative 

practitioner & theory 

1. metric (cutting to the beat) 

2. rhythmic (cutting to tempo within shot) 

3. tonal (light tone, cutting between these shots) 

4. over-tonal (tonal montage and metric sequences) 

5. intellectual / ideological montage (expresses abstract ideas by creating relationships betweem opposing  concepts)

stanley kubrick

- contrast

 - parallelism

 - symbolism 

- simultaneity 

- leifmotif : repetition * 

sound editing is just as important as editing

andre bazin 

- editing shouldn’t be there 

- photography should be done well with minimal editing

 - moving the camera and reframing for a new image 

- auteur theory (rejects the classical theories of filmmaking) 

the spielberg oner

 - move your actors 

- follow that movement, not restricted 

- break down the shot 

- try and nor move the camera

 - use special effects in a wide shot

 - don’t green screen shit 

- shoot a cutaway (reuse of positions)

- keep it short (keep the pace up) 

the meaning of film was not only in spatial composition but in the arrangement of shots *

#editing #the spielberg oner #andre bazin #stanely kubrick #sergei eisenstein #notes

[filmsi]

cinematography is about the authorship of visual images for the cinema. it is an art of craft extending from conception and pre production through post production to the ultimate presentation of these images in a film format/ a;; and any processes which may affect these images are the direct responsibility and interest of the cinematographer,

 - use in addition to theories like 

 - physical 

- organisational 

- managerial 

- interpretive 

- image manipulating techniques to effect one coherent process 

- creative and interpretive process with culminates the authorship of an original work

 - writing in movement

shot sizes, angles and movements are th e heart of an exceptional camerawork crafted to enhance emotions

the photographic (cinematic) aspects of the shot

the framing of the shot

the duration of the shot

shots focal lenths 

super wide and fish eye 

wide angle 

normal lens 

portrait or short telephoto

 telephoto lenses extreme long

shot long 

full shot 

medium shot 

#shots #cinematography #notes

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have at least 2/3 other people with you

 find out about the person : 

- why is she/he here? 

- what do they think of their role? 

- find out things to motivate them

> 15 minutes 

> 10 m give or take between auditions

>  prepare water etc. 

> thank person and tell them when you’ll get back to them

#auditions #notes

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film in japan & india

japan

meji restoration era

 watch : tokyo story 

- to remind that cinema is a distinct art form in its own right expressionism, impressionism and surrealism 

>OZU, MIZOGUCHI & KUROSAWA 

ozu :

never panned, only trailed after characters 

cinematise real life frame locks character into frames 

frames in frames (furniture, or ways, etc.)

 tatami shot - replicates the eye level of someone seated on the ground (static and distant) 

geometric compositions creates a self aware and conscious style 

manipulates typical pop shot (not from pop but bounces around to everyone’s story) 

mono no aware - sadness from daily life 

stresses equal importance to each scene

no cutting of scenes and all of them are equal length lingering of shots

> creates emotion parallels - connectivity creates a degree of importance

> punctuates a degree of importance 

mizoguchi

use of fore/middle/back 

a master of deep-focus long takes 

uses few cuts within scenes

moves camera for emphasis 

kurosawa

a master of classical narrative style who translated the hollywood formula for movie storytelling into a japanese vernacular

 injected individualism 

  india

colonisation - inspired by both social and political changes as well as cinematic movements in both us and europe driven by a desire to offer a greater sense of realism and an understanding of the common man escapist fare 

rather panatela (french new wave adaptation) 

ray’s work is one of incisive characterisation

exquisite visual composition and deep sensitivity towards human nature and the profound changes sweeping over india

*what is the significance of the film to the viewers and the world?

www.davidbordwell.net 

#japan #india #film movements #notes

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fore/middle/back

- to strip away the specifics of the scene to declutter it whilst mixing it up (learning from typical films) 

- focus on an aspect of composition 

- creates a sense of depth to your scene, gives audience a scene of scale (over-lapping objects)

-  background - scene setting 

- foreground - story telling elements 

- rule of thumb : viewer must get the most information out of scene through these 3 elements 

>through visualisation 

> understand aspects in isolation 

> think of cinematography in 3 aspects 

 don’t keep it plain > boring 

#editing #foreground #middleground #background #notes

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digectic sound - within movie, phone ringing etc 

non-digectic sound - soundtrack

special effects use of recurring imagery - reflective (imagery ties circular timeline movies)

 character typically walks in and out of frame are a necessary shots to have, provides 

options to cut out into other shots static shots are best with a loose camera head 

take note of light source, introduce where the light source is coming from (grounds the scene visually & makes it easy to recreate scene)

 ratio between key and fill lighting which provides a contrast in lighting (“dual personality”) 

change in eyeline shows realisation of a character, shows thought process 

working camera, director is key in framing up the scene 

encroaching on space to show intrusion between characters

 planning transitions in and out of scenes 

#notes #director #sound #lighting #06

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WATCH:

A Timeline of World Cinema on youtube by Bradley Weatherholt

French Surrealism

Surrealist cinema uses editing to depict a distortion of reality. It is anti-narrative and the cuts are unpredictable and disorienting.

I.e.

The Cell

Black Swan

Le Chien Andalou

The French New Wave

In a Nutshell

Style: Casual. Against the Hollywood style, shooting on location (no sets) with minimal or no  lighting equipment

Cinematography movements: Cinematography is panning tracking or with a handheld camera.

Plot: Loose casual connections with an open ended story with no character want in protagonist.

Editing: Jump cuts, no narrative continuity

WATCH: Breaking the rules- The French New Wave

French New Wave (Le Nouvelle vague) Movement:

When: Paris in Late 50s

Why: Lack of innovation in the industry

Personal cinema- reflected and showcased the directors life. Wanted to represent spirit of that era. Making audience being aware that they were watching film.

New ways to show the same thing: Original techniques that substituted already established 'boring' techniques

Breaking the rules: no longer maintaining continuity in scenes. Contrast the shots rather than make it seamless.

Created montage.

Increased pace of films --> Show, don't tell.

Jump cuts show the difference between space and time between cuts.

New frames to draw attention to something. Instead of close up, black hole or freeze the frame.

i.e. Goddart, low angle in front of characters

Auteur theory: Director is an author (i.e. Tarentino)

Camera stylo: Director's pen. Directors have own visual trademarks. Personalisation

WATCH: Breathless

#french new wave #genre #notes #theory #history #06 #absent

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- The city looks so peaceful from up here. - Anything is peaceful from one thousand, three hundred and fifty-three feet. - I think I see my dad. 

Ferris Bueller’s Day Off (1986)

#films #insp

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german impressionism

“the mood was sombre and the artists of the time were inspired by the horrors of the trenches and bitter aftermath of war, with a fractured society and equally fractured characters”

defined by :

 biomechemical acting

 high contrast

 distorted shadows and images

 uses of horror elements 

dramatisation

 horror-gothic

> born with the desire to be different and break away from hollywood norms

#german impressionism #notes #05 #history

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CONTENT

EARLY CINEMA 

CLASSICAL HOLLYWOOD CINEMA 

GERMAN EXPRESSIONISM

 FRENCH IMPRESSIONISM and SURREALISM 

SOVIET MONTAGE

 HOLLYWOOD AFTER SOUND 

ITALIAN NEOREALISM 

THE FRENCH NEW WAVE 

THE NEW HOLLYWOOD AND INDIEs 

THE HONG KONG CINEMA 

#content #contents #genre #notes #05

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types of shots

dutch shot - side off view, distorts image, off centre , idea of vector appearing in shot 

establishing shot - establishes shot, 

‘crane shot' pan - right/left, just the head of camera moving

 tilt - up/down 

boom - camera moves down/up 

swing - pan in one direction, swing movement (dolly-pan) 

dolly - camera movement in direction, whole camera moves in a direction point of view shot 

over the shoulder shot - on a character close up

 cantered extreme close up - particular features

 close up - face and chest 

medium shot - somatic onwards 

wide shot  - wide view

full shot - whole body high angle shot (small they are) low angle shot /  (how big they are) involves 

* objects that ground the scene (e.g.. centre of frame) allows us to be grounded in their perspective control of camera movement (implies sense of control over another) / sheer blocking of frame set ups can be done through shots, rather than script

#shots #tech #camera #editing #notes #05

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roles ( retrospect to writer & director)

writer 

- story structure 

> characters, inciting instant, turning point, obstacles, rising action, enlightenment, climax 

- use of dialogue

 - use of description 

- writing techniques 

 > subtext, dramatic irony, mystery

director

 - use of visuals

 - directing a moment / beat

 - initiates performance of actors

 - breakdown screenplay

 - giving the actor a set of playable* directions to perform a beat 

- “where does the emotional beat change in each screenplay?"

 > draw a line in between 

> left hand pages (with beats in lines) 

> right hand pages (breakdown of characters & screenplay in summary)

 > judith western 

- ensure everyone knows your vision & goal

 - relationship with cinematographer 

 > direct the camera movements

 > composing shot size

 - relationship with crew 

> directs the morale of the crew

* direction they can use to bounce off and make sense to themselves, to badger action verbs

#04 #notes #director #scriptwriter #writer #roles

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screenplay tips #1

-  end with descriptives, not just dialogue 

- repetitive speech by a character requires the “ (cont.) ” annotation

- less on the nose dialogue

- conflict driven plots

- jump into as close to an inciting incident

- trailing the camera off during voice overs can help marinate into a character, creating an idea of spacial awareness

#03 #notes #tips #screenwriting

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stages in plot

transcended ending - when one want of a character is fulfilled and the other isn’t

set up - building up expectations, promise given to an audience (suspense) / character (dramatic irony) , not too literal*

play off - promise is broken to audience, usually by narrative object

humour - objects can be taken outside the frame to bring about unrealistic humour, juxtaposition of frames (through motivation brought about by frames) use of foreground, middle ground and background

*  keep it organic to the story

#notes #03 #plot

[filmsi]

The Devil’s Carnival: Alleluia! Cast

#films #watch part 2 #insp #watch