aantohin Filmmaking ...
notes @ calendar?

NOTES for myself (Monaco) in [tt font]

FILM ART -- students (2008)

film-north blog:

... Dreams by Kurosawa Form(s)

Why not a movie?

"Movies" PAGES -- filmplus.org/movies

"Form" vs. "Content" -- Ideology (Poetics -- Thought) : Movies and Politics THEME (new page in DOC directory & in group/forum)

... The Blizzard :

* Expectations [genre] *

* Experience

* Feeling

* Meaning


* genre * There are other methods of dividing films into groups besides genre.
For example auteur critics group films according to their directors. Some groupings may be casually described as genres but this definition is questionable. For example, while independent films are sometimes discussed as if they are a genre in-and-of themselves independent productions can belong to any genre. Similarly, art films are referred to as a genre, even though an art film can be in a number of genres.
Genre can also be distinguished from film style, which concerns the choices made about cinematography, editing, and sound. A particular style can be applied to any genre. Whereas film genres identify the manifest content of film, film styles identify the manner by which any given film's genre(s) is/are rendered for the screen. Style may be determined by plot structure, scenic design, lighting, cinematography, acting, and other intentional artistic components of the finished film product. Others argue that this distinction is too simplistic, since some genres are primarily recognizable by their styles.
Many film historians and film critics debate whether film noir is a genre or a style of film-making often emulated in the period's heyday. Indeed, film noir films from the 1940s and 1950s were made in a range of genres, such as gangster films, police procedural dramas, and thrillers.

Form = Meaning

...

My favorite movie assignment



"Film Analysis" TOPICS: drama + comedy + postmodern + time + space + past + present + future + death + sex + resurrection +
* Overview of Ch. 1 textbook
acting for the camera =
Stanislavsky
stanislavsky.us


[ advertising space : webmaster ]

2005: Total Acting & Total Directing *

Review:

A Dog's Life (1918) [ segments in class again ]

Charles Chaplin .... Tramp

In A DOG'S LIFE, Charlie is jobless and nearly gets caught by a policeman while attempting to steal food from a lunch cart. During his escape from the officer, he saves a dog named Scraps from a couple of other dogs ganging up on him. The two create a quick bond and form a team during their relentless hunt for food.
[ In SHOULDER ARMS, Charlie portrays a private in the army at training camp during WWI. He drifts into dream about what a heroic hero he is during battle and of course, his inevitable hilarious encounters with the enemy. ]

What was said about A DOG'S LIFE:

Los Angeles Examiner (Florence Lawrence)
Of course Chaplin uses his same funny hat and mustache. These, like the wide trousers and strategic shoes, are part of his personality so far as the public is concerned, and a Chaplin comedy without them would be like Hamlet with the mad prince emitted from the cast. But the star no longer depends upon his grotesque attire for his laugh. He shows us in this film some of the marvelous pantomime work for which his stage repute was high before films claimed him. In the scene of the stolen money he performs with his hands, which prove quite as capable at evoking laughs as ever his feet have been.

God-Father (I, II?)

Storytelling (Exposition) -- what needs to be established and HOW it's done?

What is STORY?

[first "home-take test"?]

HOW TO -- papers * and get over the HOW syllabus *

... Where is FILM ART notes?! [ 1 ] & [ 1.1 ]


* Classes * 200X Aesthetics * Film Analysis Dir Part I Movies Part II Film Part III Theory * THR Books Index * Theatre w/Anatoly Theory * SHOWs * Script Analysis * Acting * Stage Directing * Russian-American Theatre (RAT) * Film-North * Film Books * Anatoly Writes * Mining Film * Film DIRECTING * Film Theory * 2005 textbook textbook : readfilm.com *

Movies - 2

textbook -- Intro: Film As Art ( see Love for Beauty Class * ) What is Art? Is Film ART? p.22

Again, "sender > media > receiver" (communication main formula)

[ continued from intro ]

1. Film -- Paintings (Visual Composition) and Storyboarding {see Film Directing 101 pages)
Architecture

Photography
(shots) and "moving pictures"

2. Film -- Novel (samples -- Epic Poetry, God-Father)

3. Film -- Theatre (directing, acting, script)
[ slow in class here : chart of functions "cast" and "crew" -- credits at the end (numbers) ]

4. Film -- Music (Amadeus)

The Structure of Art -- 62. Semiotics intro? No grammar of film, but grammar of drama? [ tricky short (last) piece in Monaco, needs more attention! ]

Monaco 2:

2. TECHNOLOGY: IMAGE AND SOUND

Art and Technology 
    Image Technology 
    Sound Technology 
The Lens 
The Camera 
The Filmstock 
    Negatives, Prints, and Generations 
    Aspect Ratio 
    Grain, Gauge, and Speed 
    Color, Contrast, and Tone 
The Soundtrack 
Post-Production 
    Editing 
    Mixing and Looping 
    Special Effects 
    Opticals, the Lab, and the Post House 
Video and Film 
Projection 

Next: 3. Film Language


NOTES: Where to introduce Film Genre? [Acting, Drama, Comedy... ]

Terms: Segmentation [ use of glossary in your papers ]

Deconstructing - or picking images apart through the use of fine detail - is an essential part of studying the media. Media texts are largely constructed of images, and we take our visual literacy - our ability to read and understand these images - largely for granted. However, in Media Studies we need to be able to explain that decoding process, and describe the steps taken which allow us to derive meaning A from text B.

However, deconstruction is only the first part of the process - never forget the purpose of a text, and that your image analysis should include a consideration of ideology, audience, representation and genre.

http://www.mediaknowall.com/imageanalys.html


More Notes:

II. Technology

: Image and Sound (Eye and Ear) p.66

Religion and Technology. Christianity and Film -- Mind vs. Body (matter). "Writing with Light" [Language of Angels]

Cycles: Pre- and Post-Production (filmplus.org/film) Craft v. Art. Collective Creation? -- director as author (theory).


Public -- Audience = Spectator. One and Many.

SPECTACLE (Poetics) and The Society of Spectacle (Le Borg 1968)


Notes:

III. The Language of the Film

Dramatic (What) v. Filmic Language (How) > When Texture Becomes Structure and Structure must be Texture ("Film Form" and formalist school).

Epic or Dramatic? Both? When epic and when/how dramatic?

Chaplin: camera recording

Eisenstein: camera compositing (montage) [Vertov]


"My Favorite Movie" First Assignment feedback *


mediaknowall.com/filmlang *
2005 Text Book : Monaco "How to Read a Film?" (first test -- next Fri. in class)

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Theory Page @ Film-North (Semiotics)

film.vtheatre.net/sov How to use KINO files for 2008 class?

Film-North * Anatoly Antohin * calendar.yahoo.com/anatolant film w/anatoly blog

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http://en.wikipedia.org/wiki/Film

2007 google.com/group/filmstudy 2008

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