Week two
Jan 23, 2017
4. INT. STUDIO - DAY
A lot of films have been watched over the weekend.
4. INT. STUDIO - DAY
A lot of films have been watched over the weekend.
The Thin Blue Line
F for Fake
London (1994)
Robinson in Space
Sunday in Beijing
Limits of Control
F for Fake
London (1994)
Robinson in Space
Sunday in Beijing
Limits of Control
NATAHSA
That took an eternity to watch and yet looks so unimpressive as a list.
I need more references and more films to watch. References from first tutorial include formalist film (1980s England?), Patrick Kellier book The View from the Train: Cities and Other Landscapes, and Stuart Bailey's phd. Godard was mentioned multiple times.
(I watched Stuart Bailey's talk and the only thing I can take from it is that graphic design is basically thinking. It's ok but not a super-rich research ground.)
That took an eternity to watch and yet looks so unimpressive as a list.
I need more references and more films to watch. References from first tutorial include formalist film (1980s England?), Patrick Kellier book The View from the Train: Cities and Other Landscapes, and Stuart Bailey's phd. Godard was mentioned multiple times.
(I watched Stuart Bailey's talk and the only thing I can take from it is that graphic design is basically thinking. It's ok but not a super-rich research ground.)
Jan 23, 2017
5. INT. HOME - DAY
Two books lay on the sofa. One is Little Emperors and Material Girls: Sex and Youth in Modern China by Jemimah Steinfeld, another is America by Andy Warhol.
NATASHA
This one – Little Emperors just found me in the store and refused to let go. It provides an Asian perspective on capitalistm, which is what I need to write my story. Brilliant. Very glad I got it. Warhol book is an exploration of American life through the words and photographs of Andy: nice example of a visual story that immerses you in its world and makes you see through the author's eyes. This might be useful in terms of visual narrative of my project.
Now to the tabs. Here's a short film made a lot like Kellier's work, but it's more of acomedy:
5. INT. HOME - DAY
Two books lay on the sofa. One is Little Emperors and Material Girls: Sex and Youth in Modern China by Jemimah Steinfeld, another is America by Andy Warhol.
NATASHA
This one – Little Emperors just found me in the store and refused to let go. It provides an Asian perspective on capitalistm, which is what I need to write my story. Brilliant. Very glad I got it. Warhol book is an exploration of American life through the words and photographs of Andy: nice example of a visual story that immerses you in its world and makes you see through the author's eyes. This might be useful in terms of visual narrative of my project.
Now to the tabs. Here's a short film made a lot like Kellier's work, but it's more of acomedy:
NATASHA (CON'D)
Ok. Tomorrow, I will research John Smith, and also learn more about modernist and formalist movements in film and maybe find that mock bbc documentary. And read my new books.
Ok. Tomorrow, I will research John Smith, and also learn more about modernist and formalist movements in film and maybe find that mock bbc documentary. And read my new books.
Jan 25, 2017
5. INT. STUDIO - DAY
Natasha creates a new block and sets bgcolor to pink.
5. INT. STUDIO - DAY
Natasha creates a new block and sets bgcolor to pink.
Creative googling class
Formalism in film
Formalism is primarily concerned with style and how
it communicates ideas, emotions, and themes. – wiki
it communicates ideas, emotions, and themes. – wiki
First, there's Hollywood type of cinema.
It always uses same techniques: continuity editing, massive coverage, three-point lighting, "mood" music, dissolves, all designed to make the experience as pleasant as possible.
Because it comes from developing capitalism, all it wants to do is sell itself.
It always uses same techniques: continuity editing, massive coverage, three-point lighting, "mood" music, dissolves, all designed to make the experience as pleasant as possible.
Because it comes from developing capitalism, all it wants to do is sell itself.
And then there's Film Noire.
Coming from post-war Germany, it's way more grim. This movement is marked by lower production values, darker images, under lighting, location shooting, and general nihilism: it is heavily influenced by atmosphere of devastation of the defeated empire.
Post-war times were more pessimistic,
so those films tend to over-dramatize.
Coming from post-war Germany, it's way more grim. This movement is marked by lower production values, darker images, under lighting, location shooting, and general nihilism: it is heavily influenced by atmosphere of devastation of the defeated empire.
Post-war times were more pessimistic,
so those films tend to over-dramatize.
Film critics make their entrance:
"It can be argued that, by this approach, the style or 'language' of these films is directly affected not by the individuals responsible, but by social, economic, and political pressures, of which the filmmakers themselves may be aware or not"
– wiki
"It can be argued that, by this approach, the style or 'language' of these films is directly affected not by the individuals responsible, but by social, economic, and political pressures, of which the filmmakers themselves may be aware or not"
– wiki
New Wave builds on that.
the New Wave filmmakers were linked by: their self-conscious rejection of the literary period pieces being made in France and written by novelists; their spirit of youthful iconoclasm; the desire to shoot more current social issues on location; and their intention of experimenting with the film form.
They are film modernists who escape from formalities and create their own visual language. We may call them auteurs:
the New Wave filmmakers were linked by: their self-conscious rejection of the literary period pieces being made in France and written by novelists; their spirit of youthful iconoclasm; the desire to shoot more current social issues on location; and their intention of experimenting with the film form.
They are film modernists who escape from formalities and create their own visual language. We may call them auteurs:
An auteur is a singular artist who controls all aspects
of a collaborative creative work, a person equivalent
to the author of a novel or a play.
The term is commonly referenced to filmmakers
or directors with a recognizable style
or thematic preoccupation. – wiki
of a collaborative creative work, a person equivalent
to the author of a novel or a play.
The term is commonly referenced to filmmakers
or directors with a recognizable style
or thematic preoccupation. – wiki
*Natasha has changed their username to Auteur
AUTEUR
Yep. Call me Auteur. Actually, don't call me, I'm going to read a book now.
Yep. Call me Auteur. Actually, don't call me, I'm going to read a book now.
Jan 26, 2017
5. INT. HOME - NIGHT
5. INT. HOME - NIGHT
AUTEUR
There's a few things to mention that I have learned but didn't go too deeply into.
Then I'll talk about alternative directions this project can take.
First. Kuleshov effect. It's a thing. It's something I'm trying to achieve, in fact.
"Lighting, angle, shot duration, juxtaposition, cultural context, and a wide array of other elements can actively reinforce or undermine a sequence's meaning."
But I'm doing it without the filming.
Second. Medium specificity. "'the unique and proper area of competence' for a form of art corresponds with the ability of an artist to manipulate those features that are "unique to the nature" of a particular medium".
Medium specificity is something I'm not doing.
Third. Godard used to change his filming/editing technique for every film he did in the 60s.
There's a few things to mention that I have learned but didn't go too deeply into.
Then I'll talk about alternative directions this project can take.
First. Kuleshov effect. It's a thing. It's something I'm trying to achieve, in fact.
"Lighting, angle, shot duration, juxtaposition, cultural context, and a wide array of other elements can actively reinforce or undermine a sequence's meaning."
But I'm doing it without the filming.
Second. Medium specificity. "'the unique and proper area of competence' for a form of art corresponds with the ability of an artist to manipulate those features that are "unique to the nature" of a particular medium".
Medium specificity is something I'm not doing.
Third. Godard used to change his filming/editing technique for every film he did in the 60s.
Ok. Now to the project.
Initially, I thought of it as a write-and-shuffle. But another good way to think about it is meta-writing. Because I'm not a professional and I'm only just learning screenwriting, I can turn it inside out and make a book that shows just how a story is made. What does an Auteur bring to the crew to explain what is it they're about to make.
Initially, I thought of it as a write-and-shuffle. But another good way to think about it is meta-writing. Because I'm not a professional and I'm only just learning screenwriting, I can turn it inside out and make a book that shows just how a story is made. What does an Auteur bring to the crew to explain what is it they're about to make.
And having looked into modernist films, I keep coming back to the writing as my core activity in this. So I guess it is more important than the visuals.
Yesterday I've seen Russian Arc – it's a film made in one continuous shot. A tour through the Winter palace from an non-participating observer point of view. A huge space made into a film.
Space made into a film is something to think about. Youth has this quality, too.
And my story is also very attached to the locations, these being Uttoxeter and Seoul, as well as Sheffield and New York.
Maybe I have to visit ome exhibitions to explore this further.
Yesterday I've seen Russian Arc – it's a film made in one continuous shot. A tour through the Winter palace from an non-participating observer point of view. A huge space made into a film.
Space made into a film is something to think about. Youth has this quality, too.
And my story is also very attached to the locations, these being Uttoxeter and Seoul, as well as Sheffield and New York.
Maybe I have to visit ome exhibitions to explore this further.
Finally, I feel like this book is very important for my project. Mostly as a source of information for the core moral argument in my story.
It's about Chinese youth and their mindset. Core moral argument in my story is corporate cold and ways of dealing with it. (It's not quite as pretentious as it sounds.)
It's about Chinese youth and their mindset. Core moral argument in my story is corporate cold and ways of dealing with it. (It's not quite as pretentious as it sounds.)
Jan 27, 2017
5. INT. STUDIO - DAY
5. INT. STUDIO - DAY
AUTEUR
Actually, I was thinking I should abandon this direct speech slash usernames thing, since I'm the only person in this chat and it's not funny anymore. No usernames from now on.
So here's is the research question:
How film, paper, and space accommodate a narrative?
And today we'll explore visual narrative on paper and on screen (a bit).
Actually, I was thinking I should abandon this direct speech slash usernames thing, since I'm the only person in this chat and it's not funny anymore. No usernames from now on.
So here's is the research question:
How film, paper, and space accommodate a narrative?
And today we'll explore visual narrative on paper and on screen (a bit).
Visual narrative in print
and on screen
(a bit)
(a bit)
Esquire Russia does a damn good job at ssstorytelling.
For example, this is a beautifully done material about a German lawyer and his mistress. He scrupulously documented the relationship and his archive has been discovered by somebody in a newly bought flat. I admire how the editors treated the material and I think it's a perfect example of a visual story.
It stops being mundane and becomes very personal and warm because if those photographs and handwritten notes and train tickets.
For example, this is a beautifully done material about a German lawyer and his mistress. He scrupulously documented the relationship and his archive has been discovered by somebody in a newly bought flat. I admire how the editors treated the material and I think it's a perfect example of a visual story.
It stops being mundane and becomes very personal and warm because if those photographs and handwritten notes and train tickets.
Unfortunately I've misplaced the printed copy, but it's available here:
Дневник тайных встреч женатого бизнесмена
Дневник тайных встреч женатого бизнесмена
Another one is about rocks that bring bad luck. It's from a book called Bad Luck, Hot Rocks by Ryan Thompson and Phil Orr.
First, the rocks are beautiful.
Second, each rock goes with a story.
Finally, each story is very personal and full of drama.
Perfect.
This material exists as a book, as a blog, and as a print and digital material in periodicals. Let's compare them all.
First, the rocks are beautiful.
Second, each rock goes with a story.
Finally, each story is very personal and full of drama.
Perfect.
This material exists as a book, as a blog, and as a print and digital material in periodicals. Let's compare them all.
In Esquire Russia, printed:
Here's Bad Luck, hot Rocks the book.
The blog:
Visual screenplays
Sergey Eisenstein's Ivan Grozny and Alexander Nevsky sketches combine storyboards, bits of screenplay, camera movement plan and mysterious symbols that I guess have to do with lens settings.
It's a multidisciplinary instruction on how to film a scene.
And Wes Anderson's lliustrared screenplay for Moonrise Kingdom (although probably made after the movie has been released)
Anderson likes petty details and knows how to incorporate them into the narrative in a non-cheesy way. Quite the opposite: they add some texture to the film (and, for this matter, the screenplay).
As a fan of unnecessary stuff myself, I think I should learn from this.
If something pretends to be real within the story-world well enough, it becomes real. Story world is shaped mostly by the cinematographer's and director's imagination.
