2007 lessons : 1 * 2 * 3 * 4
Featured Pages: Film Directing
SummaryCrepuscular Dawn by Paul Virilio and Sylvere Lotringer Semiotext(e) 2002 164 pages ISBN 158435013X: "The accident is a new form of warfare. It is replacing revolution and war. Sarajevo triggered the First World War. New York is what Sarajevo was. September 11 opened Pandora's box. The first war of globalization will be the global accident, the total accident, including the accident of science. And it is on the way."
NotesNew 2003 directories & pages:
Film & Video Directing (Spring 2004): textbook Grammar of the Film Language by Daniel Arijon
Nicolas Bourriaud: Postproduction by Lukas & Sternberg 2002 88 pages ISBN 0971119309 : "Postproduction" is the most recent essay by French writer Nicolas Bourriaud. The author discusses how, since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interpret, reproduce, re-exhibit, or use works made by others or available cultural products. This art of postproduction seems to respond to the proliferating chaos of global culture in the information age, which is characterized by an increase in the supply of works and the artworld's annexation of forms ignored or disdained until now.
Film, Form and Culture, 3/e
Film, Form, and Culture looks at film from part to whole, from the shot and the cut to the cultural, political, and economic contexts in which films are made. "Teaching Film is about getting control of the image and handing that control over to students," this has been Robert Kolker's consistent goal in teaching and writing about film. The result is the DVD-ROM and textbook, Film, Form, and Culture.
Students are introduced to the smallest elements of film--the shot, the cut, the soundtrack--and to larger issues of genre and gender; and they are encouraged to think seriously about the means by which these elements shape an audience's understanding of the narrative. On a larger scale, students are asked to consider how a film can influence its viewer even after the last reel has run out--and the way that societal changes radically alter the course of film history.
The new edition includes more detailed discussion of the shot, composition, editing, and genre; a thorough discussion of the technical and aesthetic resulting from film's digital transformation; and a revised discussion of the cultural context of film.
The accompanying interactive DVD-ROM includes segments from classic and contemporary films with explanatory text, stills, and animations illustrating film elements and strategies.
* textbook'07 Bordwell -- Web Unit One : Part I and II in Film Art
1. FILM AS AN ART
The Nature of Art
Ways of Looking at Art
The Spectrum of Abstraction
The Modes of Discourse
The "Rapports de Production"
Film, Recording, and the Other Arts
Film, Photography, and Painting
Film and the Novel
Film and Theater
Film and Music
Film and the Environmental Arts
The Structure of Art
3. Language Monaco.
Film, Form & Culture
Chapter 1: Image and Reality
Chapter 2: Formal Structures: How Films Tell Their Stories
Chapter 3: Building Blocks I: The Shot
Chapter 4: Building Blocks II: The Cut
Chapter 5: The Story Tellers of Film I
Chapter 6: The Story Tellers of Film II: The Film Director
Chapter 7: Film as Cultural Practice
Chapter 8: The Stories Told By Film I
Chapter 9: The Stories Told By Film II
GlossaryConfusing: movies should be first, not film. According to Monaco: Film as an Art (something from 200X). Next -- technology.
Should I start from I (end)? Film & Media: A Chronology (very closed to my timetable in Seven Ages of Cinema).
Part I. Film as an ArtHummer: art or tech? Wheel: forms/ideas -- functionality. Work -- Idea.
Art is technology -- IT!
Art v. Science -- could science be seen as "low art"? "De-emotionalized science"?
"New Technologies" (techniques) require new instruments, but was the words, a technology developed by many (society). The 20th century tools of self-expression require direct participation of all in expression of one (?)
The Performance Arts (in real time)
The Representational Arts (depend on the established codes).
The Recording Arts
Spectrum of Abstruction p. 28 + The Modes of Discourse p. 30 (The Work, The Artist, The Observer).
[ Mass media must be ritualistic? High tech -- if not through consumption, then through production? ] [ Segments in class (movies): Terminator II, Godfather ... and Chaplin ]
cine101.com* see calendar for last minute notes!
[ Bergman, Antonioni, Eisenstein, Silents + Plays ]
Recording v. Old Arts
PSTime as Space [Cubism and montage ] + Film and Novel, Film & Theatre
HomeworkStoryboarding (Bergman's "Dream" segment from "Wilde Srawberries"?)
Next: notesTECHNOLOGY -- Film Directing Pages!
@2003-5 film-north * The Mechanical Bride: Folklore of Industrial Man Marshall McLuhan Gingko Press 2002 160 pages Colour and B&W reproductions. ISBN: 1584230509 18 x 23 cm English text. Hardcover
This is the book that first established Marshall McLuhan's reputation as one of the foremost critics of mass communications. This book demonstrates how mass entertainment and suggestion make information irrelevant, and shows how sex was first used to sell industrial hardware. We live in an age in which highly educated professionals dedicate themselves to the task of entering the collective public mind with the object of manipulating, exploiting, and controlling. In the mid-20th-century McLuhan was the first to draw attention to this phenomenon.
Film-North * Anatoly Antohin * calendar.yahoo.com/anatolant
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