* 2007 : new directories = doc + forms
2008 and After : cine101.com
THR334 Film & Movies UAF Anatoly Antohin

acting.filmplus.org
books.filmplus.org
directing.filmplus.org

see film-north blog

my other blogs


2006:
index DOC (new)

monaco textbook *

notes

chaplin

cuckoo's nest

godfather

dreams

8.5

storyboard

Quizzes Yahoo *

2005 film.vtheatre.net


www.flickr.com
This is a Flickr badge showing photos in a set called film. Make your own badge here.
filmplus.org/mining

... anatoly.org


Film Analysis Directory @ Theatre w/Anatoly * anatoly.vtheatre.net
2005 updates: Small Chekhov Fall * "Four Farces & One Funeral" -- Chekhov.05
Chekhov's one-acts are updated -- The Bear, The Proposal (1st act -- Oh, Love!), Wedding, Tobacco (Act II -- Ah, Marriage!), but I'm still working on the "funeral" (Last Day of Anton Chekhov). mini-chekhov
I am teaching DramLit -- groups.yahoo.com/group/dramlit (subscribe) and see THR215 for subjects, topics, titles.
Spring 2006 -- Waiting for Godot, Beckett -- new pages ( see shows )
Film Mining -- Links
Sight, Sound, Motion: Applied Media Aesthetics Developed at San Francisco State University, this textbook isolates the five fundamental image elements of television and film--light and color, 2D space, 3D space, time/motion, and sound--examines their aesthetic characteristics and potentials, and structures them in their respective aesthetic fields. The fourth edition adds sections on inductive shot sequences, electronic cinema, and alternative storytelling techniques. ***

* Find your movies at MoviesUnlimited.com *
[ advertising space : webmaster ]

Search The Internet Movie Database

Enter the name of a movie, TV show, or person and then click "Go" to get more information about it/them from imdb.com.

 
THR 334W (3 Credits) Spring 2003 Movies and Films (3+0) h Explores rotating thematic topics in the art of classic cinema (films) and popular mass media (movies). Comparative analysis of classics and recent motion pictures is used to present elements of film language, analysis and criticism.

Film-North

Of course, most of the film pages are @ Film-North.

I do not teach Film&Drama now and the only updates I expect, when/if I will teach the Special Topics class: Virtual Theatre.

[ dictionary/glossary ]

See Film&Drama class page!

Recommended: 200X Aesthetics : Art & Theatre Through Film! Intro core course * Place to start!

Check the "Film Classes" Directory and tests-exams archive.

Question about University of Alaska Farbanks?

This directory belongs to FILM WING of the Virtual Theatre Project. (Also, see Film Studies and Theatre UAF pages!)

PS

View films and read screenplays
Lectures on fundamental concepts
Analysis and discussion of films and screenplays

Questions

"Comedy is tragedy in long shot." -- Charlie Chaplin

NB

Teaching mise-en-scene *

from glossary:

Art film is a film style that began as a European reaction to the classical Hollywood style of film making. Art film provides similar kinds of cinematic illusion that one finds in classical Hollywood, but by loosening the ties between its style and narrative concerns, it allows for increased subjective realism and authorial expressivity.

In the classical Hollywood form, film style is dictated by narrative. Everything that happens or is portrayed in a classical film is supposed to advance the narrative forward. All characters that are introduced are causal agents in the narrative, and classical films are filled with redundant images, verbal expressions, or symbols to get the message across to the viewer. This can be viewed as an artificial construction of reality, since nothing will be included in the film that does not clearly help the viewer understand what is going on. Art film rejects this as unrealistic, and attempts to portray real life situations and characters where things happen that do not always have a clear meaning or purpose, but instead are vague and even mysterious. Therefore, art film does not worry about clearly explaining how everything fits together. Any causal gaps that appear in the narrative of art film are often permanent.

Ambiguity -- Because art films do not always have to explain themselves, they will often have episodic plots or wandering episodes, where a character might wander off, encounter something, do something, or say something for no clear reason, and no definite explanation will ever be provided in the film. Instead, things remain ambiguous to the very end. This presents a challenge to most viewers who are accustomed to the classical style, because loose ends are not all tied up in the final scene of the art film, as opposed to classical Hollywood films which have strong closure. Art film is less about pure escapist entertainment compared with the classical system, also adding to the challenge for the viewer.

* The art film deals with realistic social problems in both objective and subjective ways. Classical Hollywood films are also able to portray social issues, but only within the bounds of the narrative, and therefore social issues are looked at only from the outside, objectively. But unlike classical Hollywood, art film is considered to be more effective at portraying its characters as more true to life, because their inner psychological state is portrayed with more subjective realism. Therefore, the characters are complex, and their behaviour as well as their relationships cannot be easily understood.

* Authorial expressivity -- Because art film is not dictated by narrative concerns, there is more freedom for authorial expressivity. The film maker can express their own style or peculiarities more freely. For this reason, it is easy to recognize the makers of art films as auteurs.

new-2006

...

Andrey Tarkovsky

Kurosawa

Fellini

Ingmar Bergman

Antonioni


Site: vheatre.net
Site Description: theatre and film classes, shows
Alaska 99709 USA
E-mail: anatolant@yahoo.com
NEW: 2007 : tarkovsky.wetpaint.com *** [join] new 2006 : flickr.com/groups/film-art + cinema german, italian & french
pages : SCRIPT
youtube.com/group/pomo

3 WAYS :

filmplus.org : film-north : theory

directing.filmplus.org : practice

film.vtheatre.net : criticism

...


* Classes * 200X Aesthetics * Film Analysis Dir Part I Movies Language Part II Films Part III Theory * THR Books Index * Theatre w/Anatoly Theory * SHOWs * Script Analysis * Acting * Stage Directing * POV (View Points) * Film-North * Film Books * Mining Film * Film DIRECTING * Bookmark vTheatre! Mailing List & News -- subscribe yourself!
glossary * appendix * biblio * list * faq * links * popup * Make FILM w/ANATOLY your homepage -- click here!
* textbook : readfilm.com *
* Film Mining: Books & Links * POV (postmodern) * 200X - Love of Beauty * VIRTUAL THEATRE *

Intro to FILM (Analysis) Pages

Bergman - Film with Anatoly 2007, Summer. Bergman died. And day after -- Antonioni.

... from film-north blog.

...

Once a year (summer) I try to organize my webpages so I can mess them up during the rest of the year.

This Film directory is a guest at Theatre w/Anatoly and most of the film pages are at Film-North. "Film & Drama" class has the same fate as 200X Aesthetics: both use film for explaining theatre and theatre to understand the dramatic structure of film.

If you want pages on DRAMA only, go to the SCRIPT directory. If it's film theory, search the Film-North (Books and Links are in Mining Film directory).

If you want to have some organized tour, go to class pages and follow the syllabus.

I do plan to have tour pages for each directory, but it will take another year before I can get to it. Right now use the listing (left top frame) or film class syllabus.

Use the search function and subcribe to Directors' Forum! (Mostly filmmakers)

Anatoly Y2K

[ The textbook is great, but right above the title "How to Read a Film" is a shot from a movie! Well, I do have problems. ] Tarkovsky-Page Fall 2005 "Film & Movies" -- we study film to read movies? Half and half: dozen of so are films (masterpieces) and thes rest are movies (new and not so new). The FILMS sre the same year after year, the titiles of the movies are different (although, some stay -- "Pulp Fiction", postmodern and very American). The difference between FILMS and MOVIES is the first issue in this class...


Film-Directing
@2000-2004 thr w/anatoly * Next: Notes *


Script Evaluation Card:

Excellent Good Average Fair Poor
Originality
Plot and Plausibility
Structure and Pacing
Characters
Format
Writing Style
Dialogue
Marketability

An online course supplement * 2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
Film-North * Anatoly Antohin * eCitations * film-north blog
2007 by vtheatre.net. Permission to link to this site is granted. Bookmark FILM-NORTH books.google.com + scholar.google.com
*

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*** This course introduces you to different approaches to film analysis by focusing on a small number of directors and their works. We will look at different film-making modes, traditions and movements within the context of key critical debates of film studies. This will include an introduction to notions of authorship, modes of film practice and international cinema.

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film analysis home: [1] [2] [3] [4] 2007 appendix * biblio * books * new * links * references * students * bookmarks + my bookmarks * flickr: film-art * movies.vtheatre.net * youtube.com/group/directing * lul.sellassie.info * film domains * virtual theatre domains * notebook * maps * glossary * calendar * astore * groups.google.com/group/filmstudy * anatolant.vodpod.com * My BLOGS & amazon.com/kindle

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2010 : LUL film school : classes.vtheatre.net

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cine101.com film w/anatoly after 2009