Wednesday, 12 July 2017
Friday, 30 June 2017
Schedule (remaining lessons)
Creative Media
Production
Friday – KAG
to cover Pre-production and planning
Josh, Kate, Rachel and Georgia
Jake, Lucy, Curtis and Ben
Frankie, Tom, India and Jed
Etienne, Ren, Billy and Matthew
Monday, 26 June 2017
'Conventions' of French New Wave
Deconstruction : Their movies deconstruct cinema, narrative, the separation between a actor and a character and the role of the audience as passive watchers of a movie and much of traditional storytelling.
Doing It for the Art : Believers and practitioners, who tended to keep pushing their limits and go against contemporary trends even when their films became the trend.
Downer Ending : Not big believers in the Happy Ending or endings on the whole. Gainax Ending was a common occurence.
Existentialism : Rougly contemporaries with Jean-Paul Sartre, he was a major influence on all their films, even a Catholic like Eric Rohmer.
The Face Of The Band : François Truffaut initially and then Jean-Luc Godard, especially after the former's death.
Follow the Leader: The directors of the new wave pioneered all kinds of production and editing techniques like the Jump Cut which went on to inspire the New Hollywood and much of the film-school graduated professionals who worked in advertising and music videos.
Foreign Culture Fetish: Hollywood and American culture (authors like Dashiell Hammett and William Faulkner, George Gershwin and Bob Fosse) were constantly identified as touchstones though the New Wave radically broke away from the classical style of film-making.
Genre-Busting : The French New Wave believed and practiced this, their films combing styles and themes and motifs from different genres.
Homage : A frequent claim for their film's many references.
Last of His Kind: With the death of Jacques Rivette in January, 29, 2016, Jean-Luc Godard is the last of the New Wave, having outlived all his friends.
Lets See You Do Better: They were pioneering film critics — one of the first to use tape recordersnote to interview film-makers and produce long-form detailed profiles that had never been done before, in addition to extensive research and cross-referencing by tracking names across movie credits. And they became pioneering film-makers.
Serious Business : As critics and as directors, they took film-making in all its aspects very seriously. Eric Rohmer stated that audiences who didn't like Howard Hawks didn't understand cinema and Jean-Luc Godard became famous for his many comments on a similar note.
"Shaggy Dog" Story / Shoot the Shaggy Dog : Their movies tend to have very thin plot and the story keeps subverting any narrative resolution. Jacques Rivette's Paris Belongs To Us is a conspiracy movie without a conspiracy, the atmosphere generally stemming from the Cold War Post-Historical Trauma.
Shadow Archetype : To the British Invasion as well as artists like Bob Dylan. They achieved in movies what The Beatles, The Rolling Stones and Dylan did in their music in the same time. Their works were widely seen and greatly influenced the same set. Marianne Faithfull made a cameo in a Godard film and Godard made a film documenting the recording of Sympathy for the Devil with the Stones.
Shout-Out : To the whole of film history, literature, art, history, architecture and contemporary advertising.
Small Reference Pools : French cinema tends to avert this, but the New Wave were even bigger aversions. The films of Jean-Luc Godard in particular engaging with everything from philosophy to science, fashion to contemporary advertising, to movies from every era, to Modernist architecture, fiction, painting and music.
Start My Own: The movement was created by some film critics who thought they could make better movies on their own.
Three Chords and the Truth: The New Wave were believers and practitioners in the cinematic equivalent. At a time when Hollywood were making the Epic Movie, expensive, big-budget blockbusters, they argued for smaller, intimate films about everyday life and problems, using real locations instead of giant sets, natural lighting instead of studio lighting (which the new cameras and improved film stock made possible) and direct sound instead of studio-produced soundtrack. It should be noted that this wasn't a total dogma for them and the New Wave would move away from them, but generally their credo is embodied by Godard:
Viewers Are Geniuses : Major believers in this. Their narratives did not wrap everything neatly, and many of them expected their films be seen twice to get the meaning and emotional force from their films.
Doing It for the Art : Believers and practitioners, who tended to keep pushing their limits and go against contemporary trends even when their films became the trend.
Downer Ending : Not big believers in the Happy Ending or endings on the whole. Gainax Ending was a common occurence.
Existentialism : Rougly contemporaries with Jean-Paul Sartre, he was a major influence on all their films, even a Catholic like Eric Rohmer.
The Face Of The Band : François Truffaut initially and then Jean-Luc Godard, especially after the former's death.
Follow the Leader: The directors of the new wave pioneered all kinds of production and editing techniques like the Jump Cut which went on to inspire the New Hollywood and much of the film-school graduated professionals who worked in advertising and music videos.
Foreign Culture Fetish: Hollywood and American culture (authors like Dashiell Hammett and William Faulkner, George Gershwin and Bob Fosse) were constantly identified as touchstones though the New Wave radically broke away from the classical style of film-making.
Genre-Busting : The French New Wave believed and practiced this, their films combing styles and themes and motifs from different genres.
Homage : A frequent claim for their film's many references.
Last of His Kind: With the death of Jacques Rivette in January, 29, 2016, Jean-Luc Godard is the last of the New Wave, having outlived all his friends.
Lets See You Do Better: They were pioneering film critics — one of the first to use tape recordersnote to interview film-makers and produce long-form detailed profiles that had never been done before, in addition to extensive research and cross-referencing by tracking names across movie credits. And they became pioneering film-makers.
Serious Business : As critics and as directors, they took film-making in all its aspects very seriously. Eric Rohmer stated that audiences who didn't like Howard Hawks didn't understand cinema and Jean-Luc Godard became famous for his many comments on a similar note.
"Shaggy Dog" Story / Shoot the Shaggy Dog : Their movies tend to have very thin plot and the story keeps subverting any narrative resolution. Jacques Rivette's Paris Belongs To Us is a conspiracy movie without a conspiracy, the atmosphere generally stemming from the Cold War Post-Historical Trauma.
Shadow Archetype : To the British Invasion as well as artists like Bob Dylan. They achieved in movies what The Beatles, The Rolling Stones and Dylan did in their music in the same time. Their works were widely seen and greatly influenced the same set. Marianne Faithfull made a cameo in a Godard film and Godard made a film documenting the recording of Sympathy for the Devil with the Stones.
Shout-Out : To the whole of film history, literature, art, history, architecture and contemporary advertising.
Small Reference Pools : French cinema tends to avert this, but the New Wave were even bigger aversions. The films of Jean-Luc Godard in particular engaging with everything from philosophy to science, fashion to contemporary advertising, to movies from every era, to Modernist architecture, fiction, painting and music.
Start My Own: The movement was created by some film critics who thought they could make better movies on their own.
Three Chords and the Truth: The New Wave were believers and practitioners in the cinematic equivalent. At a time when Hollywood were making the Epic Movie, expensive, big-budget blockbusters, they argued for smaller, intimate films about everyday life and problems, using real locations instead of giant sets, natural lighting instead of studio lighting (which the new cameras and improved film stock made possible) and direct sound instead of studio-produced soundtrack. It should be noted that this wasn't a total dogma for them and the New Wave would move away from them, but generally their credo is embodied by Godard:
Jean-Luc Godard: All you need to make a film is a girl and a gun.
Viewers Are Geniuses : Major believers in this. Their narratives did not wrap everything neatly, and many of them expected their films be seen twice to get the meaning and emotional force from their films.
Breaking The Rules - The French New Wave
Excellent second video explaining the history and purpose (with clear examples) of The French New Wave.
https://www.youtube.com/watch?v=0R7R0JHvvgo
Wednesday, 21 June 2017
French New Wave (Editing Technique)
Please watch the following clip https://www.youtube.com/watch?v=3Iz3JTGHRh0
(What I Learned From Watching: Breathless (1960))
(What I Learned From Watching: Breathless (1960))
· - Take notes from
the YouTube video
· - What are some
techniques of French New Wave Cinema?
· - How are some of
the techniques still used in contemporary cinema?
· - What are the
benefits of using this editing technique?
Wednesday, 14 June 2017
EVENT: Melody Bridges - Guest Speaker
Melody Bridges, who is the co-editor of a book on female pioneers in cinema
‘The stories which we watch unfold - on the big screen, on our televisions and, more recently, on our phones and tablets - help shape the way we view the world (and the decisions we make). The people who make the films and programmes we watch therefore have a powerful influence on us. Sadly, a relatively small number are women.
They control what we see and male characters and heroes dominate the screen (even the crowd scenes). But it wasn't always so:
• Women of early cinema were both powerful and successful.
• But they have all but been expunged from modern history*.
*Melody is co-editor of an important work on female pioneers of early cinema - Silent Women - http://www.londonbookfair.co.uk/en/Exhibitors/1574856/ Aurora-MetroSupernova-Books/ Products/937339/Silent- WomenPioneers-of-Cinema
The expunging of women from this history has had a profound influence on aspirations of younger generations of women, bereft of role models and tricked into thinking there is no precedent for their ambitions.; or who focus on screen roles rather than the power to be found behind the camera, as well as in others areas of production, distribution and transmission.
Work in schools is extremely important. Girls watch an average of 7 hours screened media every day. Such a workshop get them questioning who makes TV/film right now, and which voices/ faces do they see on screen and how representative is this. The response to these workshops thus far has been incredibly positive.’
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