Final exam

At the beginning of the scene, the camera follows Georges, suggesting the importance of his character. He walks to the elevator while he talks comfortably to other business people. This shows part of Georges life and commitment, his present life. Suddenly, Majid’s son appears, where the OSS reveal Georges’ reaction to the appearance of this person. Georges’ reaction changes as if to suggest memories of his past life returning. Georges says he doesn’t have time to talk when really he wants to forget or repress this part of his life. Georges ignores him and continues walking to the elevator. Majid’s son follows him, this suggests that Georges’ past memories are haunting him and won’t go away, just like Majid’s son.

Cinematographer

A Cinematographer is a person who has expertise in the art of capturing images either electronically or on film through the use of visual recording devices. Also responsible for the selection and arrangement of lighting. The Director of Photography is the movie's chief Cinematographer.

It is the making of lighting and camera choices when recording photographic images for the cinema. It is closely related to the art of still photography. Many additional issues arise when both the camera and elements of the scene may be in motion, though this also greatly increases the possibilities at the same time.

Director

A film director, or filmmaker, is a person who directs the making or production of a film. Some also consider a film producer to be a filmmaker.

The Director is a person who visualizes the script, controlling a film's artistic and dramatic aspects, while guiding the technical crew and actors in the fulfillment of his or her vision. In some cases, film directors do not have absolute creative control. The director can also be selected by the producer. The producer can in this case have veto power over everything from the script itself to the final cut of the film, often in anywhere from slight to extreme opposition to the director's vision.
When directing individual episodes for a television show, a director's responsibilities are somewhat diminished, as the visual look and feel of the series is already established, usually by the person billed as the show's creator or executive producer. Those directors who choose or are chosen to work in TV traditionally have had to accept that they will not be as lauded, or as well-paid, as their big-screen counterparts.

Production Designer

The production designer's primary, though by no means exclusive, responsibility is the design of the sets. Exact responsibility varies from one film industry to another. In the United States, for example, production design and costume design are usually two separate professions. In other major film industries, the two responsibilities are often held by a single person. Before designing anything, the designer develops a "design concept," an overarching metaphor for the film's appearance that governs individual choices. This "concept" may or may not be established in conjunction with the director. Once settled upon, however, it structures all decisions made, helping the art staff to give an individual film visual distinction.

Production designers have one of the key creative roles in the creation of motion pictures and television. Working directly with the director and producer, they must select the settings and style to visually tell the story.

Interview Titi Bossi

.. cinema experience?
I love the cinema, more than watching a movie on my house, I usually in vacations go a lot as I have a lot of free time.
... actor/actress you admired/worshipped?
Scarlet Johansen, Angelina Jolie, Brad Pitt
... director you became aware of?
I don’t have one

The last:

... film you cried in?
I never cried in a film.
... film you saw in the cinema?
Obsessed
... film you switched off or walked out of?
The day when the Earth stood Still

And some favourites. Your favourite:

... childhood films?
Aristocats, Finding Nemo,
.. recent films? 17 Again,
... all time films?
Ghosts of my girlfriend past, Changeling,
... cinema?
The one in Village Recoleta
... actors and actress? Scarlet Johansen, Brad Pitt, Angelina Jolie,


Either/Or:

Hitchcock or Scorsese? Hitchcock
De Niro or Pacino? Both over-rated.
Subtitles or dubbed? Subtitles
Hollywood or Bollywood? Hollywood
Julianne Moore or Julia Roberts? Julia Roberts
Zak Efron or Bela Lugosi? Zac Efron.
High School Musical or The Exorcist? High school Musical
Special effects or grim realism? Special effects



Silvina Bossi thank you very much for your time.

Six Point Plan

1. Why you have chosen that topic.I think this topic is a very actual social problem and it will be very simple finding resources and evidence.

2. How you will meet the target audience.We are going to Retiro and interview some of the people which making the line to ask for coins.

3. What equipment you will use to complete the project.iMovie (Notebook), Microphone, Digital Camera.

4. Who your primary and secondary sources will be.Our primary resource will be an interview with the people in the queue;and our secondary resource will be a bus driver of the bus company.

5. What each member of your group will do. Who will do what, in terms of editing, producing, filming, organising?CAMI: Film, interviewGULI: Film, presentJACKIE: Film, editTITI: Film, sound.

6. Your resource material: you need to find a quality documentary in similar form (low budget, 3 minutes, 14-18 years olds) whose content you will use as a basis for your film.La dignidad de los nadies" (2005)Directed by: Fernando E. Solanas

Genre analysis: Epic Historical Films

Epic films often take an historical or imagined event, mythic, legendary, or heroic figure, and add an extravagant setting and lavish costumes, accompanied by grandeur and spectacle and a sweeping musical score. Epics, costume dramas, historical dramas, war film epics, medieval romps, or 'period pictures' are tales that often cover a large expanse of time set against a vast, panoramic backdrop. In an episodic manner, they follow the continuing adventures of the hero(s), who are presented in the context of great historical events of the past.

Epics are historical films that recreate past events. They are expensive and lavish to produce, because they require elaborate and panoramic settings, on-location filming, authentic period costumes, inflated action on a massive scale and large casts of characters. Biopic (biographical) films are often less lavish versions of the epic film

Epics often rewrite history, suffering from inauthenticity, fictitious recreations, excessive religiosity, hard-to-follow details and characters, romantic dreamworlds, ostentatious vulgarity, political correctness, and leaden scripts. Accuracy is sometimes sacrificed: the chronology is telescoped or modified, and the political/historical forces take a back seat to the personalization and ideological slant of the story (i.e., the 'poetic license' of Oliver Stone's controversial JFK (1991))

Important Epic/Historical film directors are D. W. Griffith and Cecil B. De Mille

The first great category of cinematic epics is the silent epics. The first American epic was early cinematic pioneer D. W. Griffith's Biblical spectacle Judith of Bethulia (1914), a little known four-reel feature film weaving together two Apocryphal stories about the 40-day Assyrian siege of the walled Judean city of Bethulia. Griffith's most influential and complex film, noted for its technical virtuosity and dynamic editing (although controversial for its southern point of view) was the first blockbuster film The Birth of a Nation (1915). It reproduced the Civil War and Reconstruction Periods (including various battles, Lincoln's assassination, and the aftermath) and told of the war's effects upon two families (the Northern Stonemans and the Southern Camerons) with a specific ideological slant that distorted its historical veracity. This almost three-hour film's screenplay was based upon Thomas Dixon's novel and play The Clansman.

Griffith's directorial counterpart, who specialized in extravagant epics throughout his entire career spanning both the silent and sound eras, was film showman Cecil B. De Mille. In reaction to Griffith's epic Intolerance (1916), Cecil B. DeMille (still at Famous Players-Lasky Corp., soon to be Paramount) went on to make his first large scale spectacle/epic film titled Joan the Woman (1916), one of the first epic biopics. It was DeMille's version of the Joan of Arc story starring opera star Geraldine Farrar and Wallace Reid. Its release coincided with the US entry into The Great War (and echoed the raging conflict), and the film served as propaganda for the Allies, with its framing story set in the English trenches of World War I. The film received critical acclaim and was greeted with modest box-office success. De Mille continued during his early film career with a series of silent Biblical or religious epics - a specific subgenre. In the 50s, the sound era brought more Biblical, historical, or Grecian/Roman times epics, alongside the development of colorful wide-screen Cinemascope to lure viewers away from their home televisions with free programming.

CASE STUDY: Intolerance

More recent examples of biographical epics include the following films:

• George C. Scott's unforgettable portrayal of the cantankerous WWII general in the highly-regarded Patton (1970)
• Sir Richard Attenborough's $22 million production of Gandhi (1982) featured Oscar-winning Ben Kingsley as the saintly 20th century Indian Mahatma - pacifist and spiritual leader
• the multiple award-winning film adaptation of the musical Broadway hit Amadeus (1984), from director Milos Forman, viewed the antics of young musical prodigy Mozart (Tom Hulce) [In its year of winning the Oscar competition, it was running against two other big pictures: David Lean's A Passage to India (1984) and The Killing Fields (1984)]
• Bernardo Bertolucci's honored epic of the Chinese Ching Dynasty and the life of Pu Yi, China's last emperor in the Best Picture-winning The Last Emperor (1987)
• Oliver Stone's Nixon (1995) with Anthony Hopkins as the scandalous 37th President of the US and Joan Allen as his supportive, long-suffering wife Pat
• writer/director Spike Lee's epic film Malcolm X (1992) told the life story of the slain civil rights leader with a great performance from Denzel Washington
• Attenborough's reverential Chaplin (1992) chronicled the life story of silent comedian and film-maker Charlie Chaplin (Robert Downey, Jr.)
• Tim Burton's Ed Wood (1995) was about the maverick, low-budget, Hollywood director (Johnny Depp) of cult films
• Alan Parker's musical biography Evita (1996) showcased Madonna playing the role of beloved Argentinian Eva Peron

Today´s Q: What makes a film good?

What makes a good film?

1. Scriptwriting
2. Mise en scène
3. the setting
4. the soundtrack
5. a good argument

Today´s Q: How does camera movement affect meaning?

Michael Bay uses a lot of angles but he uses low camera angle the most to show the importance of the main character. He tries to make us the idea of whats happening, the whole style of men, guns and explotions. A typically shot of michael bay is the low camera angle and long shot where the main character is shown and the explotions are behind them such as in Bad Boys, Transformers. Their scenes are short and edited every second, they go fast to show the action. The camera is constantly rotating and the use of panning too, that follows the character.

Alfonso Cuarón uses different camera shots that make the scene more real, his shots are long to make it more realistic. His style is more the real time. He usually uses medium shot and over the shoulder shot. That doesn’t tell whats happening so that the audience figure it out. His shots are fluid almost all the time panning, such as in Children of men.

Practical Production: Documentary

SCRIPT

PIP-PIP-PIP PIIIIIIIIIIIIIIIIIIP- FOOTAGE ¿Dónde estan las monedas? (where are the MONEDAS?)

(Voice Over of Jackie while shots of retiro station, people walking, taking monedas):

Over the last two years the search for monedas has become an adrventure on the

big city of Buenos aires. Almost all public transport in argentina need monedas,

not only this but also daily and esential tasks, like parking in public places, or

using public telephones . Everyday in retiro station in Argentina a long line of

people form up to get monedas.

Entrevista Viejo (interview an old man):

What influence did it have in your life?

Ermm really it complicates everyone who use public transport, I believe that Buenos Aires I a city that should have a facility to provide coins like it happens in every other part of the world

When did it start affecting you?

I have son’s that work all day and they travel in public transport, therefore once or twice a week I make 40 or 50 minutes line to get 20 pesos in change to provide them, because they can’t get off work.

Do you think this is going to improve in the future?

I am quite sceptic about things improving in argentina, I’ve lost pretty much the trust in the capacity of our government to change things and make a difference

Entrevista vieja (interview an old woman):

When did it start affecting you?

The problem started a long time ago, approximately one year or more.

Do you think this is going to improve in the future?

I don´t know I think that at this stage the government should have solve it already.

Film movement: French New Wave

Written Summary: The French New Wave

The French New Wave is one of the most significant film movements in the history of the cinema. During the late 1950s and early 1960s, the New Wave rejuvenated France's already prestigious cinema and energized the international art cinema as well as film criticism and theory, reminding many contemporary observers of Italian neorealist’s impact right after World War II.
The term French New Wave refers to the work of a group of French film-makers between the years 1958 to 1964. The film directors who formed the core of this group, Francois Truffaut, Jean Luc Godard, Claude Chabrol, Jacques Rivette, Eric Rohmer, were the once all film critics for the magazine Cahiers Du Cinéma. This new wave movement in France turned out to be the most influential of all movements. They changed notion of how a film could be made and were driven by a desire to forge a new cinema.
French new wave directors took advantage of the new technology that was available to them in the late 1950’s, which enable them to work on location rather than in a studio. They used lightweight hand-held cameras, faster film tocks, which required less light, and light-weight sound and lighting equipment, which encouraged experiment and improvisation, and generally gave the directors more artistic freedom over their work. In A Bout de Souffle (1959) the cinematographer Raoul Coutard was pushed around in a wheel chair-following the character down the street and into the buildings. Innovative use of the new hand-held cameras is evident.
French New Wave films had a free editing style and did not conform to the editing rules of Hollywood. The editing often drew attention to itself by being discontinuous, reminding the audience that they were watching a film. For example by using jump cuts or the insertion of material extraneous to the story (non-diegetic material). Godard in particular, favored the use of the jump cut, where two shots of the same subject are cut together with a noticeable jump screen. In Godard first full-length film A Bout De Souffle jump cuts are used during a lengthly conversation in a room and in a scene in a car driving around Paris.
Long takes were common, for example, the street scene in A Bout de Souffle. Long takes have become particularly associated with the films of Jacques Rivette. The use of real-time was also common, for example in Varda’s Cléo de 5 á 7, in which the screen duration and the plot duration both extend two hours. These films tended to have a loosely constructed scenario, with many unpredictable elements and sudden shifts in tone, often giving the audience the impression that anything might happen next. They were also distinctive for having open endings, with situations being left unsolved.


The actors were encouraged to improvise their lines, or talk over each others lines as would happen in real-life. In A Bout de Souffle this leads to lengthly scenes of inconsequential dialogue, in opposition to the staged speeches of much traditional film acting. Monologues were used, as were the voice-overs expressing a character’s inner feelings. Women were often given strong parts, for example, Corinne Marchand in Varda’s Cléo de 5 á 7.
The American jazz music that was popular in Paris at that time also featured in some films, for example, the Miles Davis score for Ascenseur pour l’Echafaud. In the film A Bout de Souffle the sound comes after the action.
In conclusion The French New Wave dramatically changed filmmaking inside and outside France by encouraging new styles, themes, and modes of production throughout the world.

My first textual analysis: Titanic

Analysis on “I’m flying” scene-Titanic:

Titanic is a 1997 American romance film directed, written, co-produced by James Cameron based on the sinking of the RMS Titanic.
The flying scene in Titanic is a beautiful and romantic sequence because it invites the audience to empathies with the lovers. These two lovers are the protagonists of the movie, a young man of low social status, without any heading who won the ticket to the ship out of a lucky poker hand. On the other hand there is a woman of high social class who, by this feels very contained.
They are on a ship called Titanic, heading to New York City. This is where almost the entire movie and the story are set.
The scene stars with a bird eye view, from the sea to the boat and following the male character, Jack Dawson. Then there is a zoom in to the character. As the camera crabs left we can see the entrance of the female character, Rose… As soon as she appears the Non diegetic sound-the theme song starts to play. Rose blue dress gives the audience the impression it’s an older period of time like 1912, when the actual Titanic sank.
Rose comes towards Jack, as he tells her to close her eyes. Rose closed eyes give the audience anticipation of her opening them and when she does, we can see the surprise Jack has planned. She’s in the centre of the frame with Jack standing behind her. The music is playing quietly so we can hear Jack say, ‘Hold on to the railing!’ The close up allows the audience to feel the energy between Rose and Jack and see their emotions.

There is another close up to Rose and Jack’s faces the close up is at a low angle and Rose is not the centre anymore. Her eyes are still closed and Jack is looking at her. This shows Jack is in complete control and as Rose frees her arms shows she trusts him. Jack is showing Rose another life to what she is living trapped by social class, and she is enjoying the moment.
They are standing at the edge of the ship, it is Jack and Rose powerful moment and they are almost flying, pressed together, facing outwards. The low angle shot suggest they are in power. Where they are standing gives them control and freedom. They are leading the Titanic.
Left of the frame we can see big machine from the ship, which indicates both Jack and Rose are leaving that world for a while as they have their backs to the ship and are facing to the sea. This is a world they are escaping but the presence of the machine in the background suggests mechanical forces are against them.
A cut to a bird’s eye view of Jack and Rose standing on the railings suggest they are flying like birds. We see the ship moving against the water this can represent they are going against the current.
There is an extreme wide shot zooming in capturing the entire boat and them altogether. There is a sequence of shots capturing them and where they are placed. With the music playing at the background. There is a cut in of Jack grabbing Rose’s hands and an extreme close up to both of their faces, which suggest their getting more intimate. There is a mid shot when Jack puts his arms around her. Showing they have the same feeling they give their first kiss and as they kiss the non-diegetic sound-theme song volumes up. The camera circles around them as they kiss.

As the scene finishes, they are still kissing, but it ends up showing the ship in disaster as they both disappear. This shows what will happen next, foreshadowing the events, the sinking of the titanic.