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ED040594.Pdf DOCUMENT RESUME ED 040 594 951 EM 008 191 AUTHOR Mabrey, Layton TITLE Korea. Frame In, Frame Out. Writing and Directing Educational Films. INSTITUTION Agency for International Development, Washington, D.C. SPONS AGENCY Office of Education (DHEW), Washington, D.C. PUB DATE 61 NOTE 251p. EDRS PRICE EDRS Price MF-$1.00 HC-$12.65 DESCRIPTORS Audiovisual Aids, Developing Nations, *Film Production, *Instructional Films, *Korean Culture, Production Techniques, Technical Assistance ABSTRACT The techniques of writing and directing an educational film are covered in this book. The book has been written with the intent that it will serve as a guideline for native Koreans interested in producing instructional films for their country. The author begins with a description of the various types of educational films and the uses to which they may be put. He discusses researching the film and developing a central theme. He illustrates the idea of theme with a plot outline of thirty-six classic Korean stories. Using various films to illustrate his points, he continues through the ,. processes of scripting, casting, making a story board, directing, and shooting a film. He presents several types of sample contracts and releases necessary in film production. In conclusion, he offers some '-4. comments on the overall Korean film industry. A list of references is appended. (JY) U.S. DEPARTMENT Of HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS Of VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE Of EDUCATION FRAME IN POSITION OR POLICY. TRAMEOUT .e k k S. I 1 co This document was processed for the ERIC Document Reproduction Serviceby the ERIC Clearinghouse at Stanford. We are aware that some pages probably will not be readable in microfiche or in a hardcopy enlargement. However, this is the best available copy, and we 'feel that the document should .not be withheld from interested readers on the basis of these unreadable pagesalone. LISTor ILLUSTRATIONS Fijure Number and Title 1. The Film Package 2. Complete Educational Package Program 3. Stepi Taken by the Writer from Idea to Script (Diagram) 4. Medium Long Shot (MLS) 5. Medium Shot (MS) 6. Full Shot (FS) 7. Group Shot (GS) or 5-Shot (5-S) 8. Knee Shot 9. Waist Shot - Man 10. Waist Shot- Woman 11. Bust Shot (Korean Close-up) 12.. Close-Up 13. Close, Close-Up 14. Tight Close-Up (TCU) or Extreme Close-Up (ECU) 15. Head-On Shot 16. High Angle Shot 17. High Angle-Variation V 18. Low Angle *MCA . 19. Side Angle Shot 20. Over-Shoulder Shot 21- 23,Re Verse Angle Shots and Matching the Look 24. The Reaction Cut 25. Cutaway and Reaction Pan List of illustrations Continued 26. The.Entrance or Exit Pan 27. Medium Shot to Close-Up Pan 28. Follow Pan 29. Revelation or Surprise Pan 30. The Tilt Pan 31. The Swish Pan 32. Dolly In, or Dolly Out 33. Traveling or Tracking Shot 34-36.Some Wide Screen Compositions 37. Optical Effect- Fade Out Fade In 38. Optical Effect- Dissolve or Lap Dissolve 39. Optical Effect-Wipe (Horizontal and Diagonal) 40. From Words to Visuals 41. Graphic Analysis of Shooting Script and Answer Print (THE DYKE): 41A. Graphic Analysis (PREVENTION AND CURE OF T. B. ) Indicating Film Tempo 42. Horizontals 43. Verticals - ii w List of Illustrations - Continued 44. Clashing (Lines of Conflict) 45. Graceful Curves 46. Comic Curves 47. Diagonals 48. Balance 49. Framing 50. Contrast 51. Subject to Space 52. Emphasis: A.Repetition B.Camera's Point of View C.Contrast D.Isolation E.Difference in Size F.Psychological Placement 53. Texture 54 - 55.Change of Direction 56 - 57.Imaginary Line at Work 58. Multiple Camera Setup 59. Overlap Shooting 60. Simple Map Sketch 61 74.Ink Wash and Hard Line Techniques of Storyborading 75 - 77. Wash and Hard lines Used to Create Low Key Lighting Effect List of Illustrations - Continued 78 - 80.Thin Line Techniques Illustrated froiriStoryboard of Production, SELF SUPPORTING CABLE. 81. Biulding up Figures by the Stick, Stick andBlock, Stick and Ball Methods. 82. Costuming the Stick Figure 83. Block and Skeleton Figures 84 - 85.Spiral Figures 86. Highlights and Shadows 87. Simple Perspective 88. Wall Display with Drapes 89. A Folding Panel Display 90 - 91.Plans for Photographing Mass Movements 92. Lip Synch Recording A'. iv INTRODUCTION. My dear friends here in Korea, for nearly three years we have lived and worked together, For me this has been a most reward- ing experience and I hope that this is true for you.If, in some small way, we have bridged many of our differences... arrived at a deeper understanding of each other through our working to- gether, then we have come a long way. In this book we talk about our work, the production of educa- tional films. We talk about the films we've made during my stay in your country.. We talk about the films I hope you will continue to make long after I leave.If there is one bit of helpful advice I can give you it is DON'T UNDERSELL THE EDUCATIONAL OR THE DOCUMENTARY FILM. The feature film has its place and we all enjoy a skilfully produced feature movie, but the more im- portant type of film is the kind you make, the EDUCATIONAL, the DOCUMENTARY. In support. of this I offer the words of Leon Gutterman, Editor and Publisher of Wisdom magazine: "The educational film is a great art which matches the classic achievements of literature, painting, poetry, architecture, sculpture, and music. "The educational film belongs to the people and mirrors their lives.It is one of the greatest weapons utilized for cultural and social advance. "Education is the. foundation of democratic liberties, the key to world order. No thinking person doubts that we are liv- ing in a decisive moment of human history.The complexity of the present situation at best is baffling to all of us. We are faced with a changing, groping, unstable world - a would that is a battleground is the global struggle of ideas for the possession of the mind and the spirit of man.... The educa- tional motion picture i s an outpost in this struggle of idea s.... "The producers, directors, andwriters of these unique class- room films are intelligent men who make intelligent films and content that theirs is essentially a medium forconvey- ing information, ideas, knowledge--not something to amuse, to divert, to pass an idle hour.... "They have extended the dimensions of learning. They have opened new horizons in learning... "It is not too much to say that classroom films constituteal- together the most powerful educational influencethat exists in the modern world. " Is this not the epitome of a documentaryfilm maker's career, to become a regular contributor ofdynamic educational materials-- the bringer of new ideas and new methods onhealth, sanitation, farming, business, fishing, community cooperation andendless other phases of development your country sodesperately needs? T. Layton Mabrey Korea, 1961 FRAME IN CHAPTER I' FILMS BY TYPE It is well to begin with a discussion of the kind of films with which we are primarily concerned. Educational films are usu- ally documentary in nature, although the_ feature film technique (generally associated with the entertainment film class) may be utilised. Generally we think of the educational film as (1) moti- vational, (2) instructional, and (3) informational in character . The educational or training film may be developed in a variety of ways. The most important types will be discussed in this 'chapter. 1. The Demonstration Film A favorite "nuts and bolts" routine, showing step by step how a food is prepared, how a piece of clothing is cut out toge- ther, or how the M-1 rifle is cared for. This type of film gets directly to the point of its message without any flowery begin ning or enclinig, Handled either in voice -over narration or lip- synch dialogue, a majority of the Army, Navy, and Air Force training films are of this typo. This format was also popula- rized on television, first as a live show and later as a filmed program. Many of the television commercialsfollowed this pattern. The old "pitchman" of the days of the carnival and county fair returned and before the TV cameras sold his wares through high-powered, hard-sell demonstration. Short five-minute "How To Do It" films contributed to tele- vision as "standby" or "fill-in" material. Most notable of this type that we have produc:Ild here in Korea are: IMPROVED CLOTHING, GRADER MAINTENANCE, IMPROVED KITCHEN, BETTER DIET, and IDW INSTALLATION. 2. The Exposition Film Reveals "the Bad" so thoroughly and emphatically that only the reverse, "the Good" is the obvious solution to the problem. Many films in the early 1930's in the States were documentaries that used this approach. Portions of THE RIVER and THE PLOW THAT BROKE THE PLAINS were dramaticexpositions of ravaged timberlands, eroded crop fields ....alife of squalor and misery. Again, THE CITY is an interestingdocumentation of poorlyplanned housing and the "rat race!' living of thecity dwellers.These films first exposed the problem and thenproceeded to offer a solution. To control the Mississippi River aTVAprogramwas set upand the valley rebuilt. To prevent erosionthe farmers wereurged to practice strip farmingand not misuse their land.As a partial answer to the poorlyplanned city housing, new ideas oncity planning and apartment housing werevisually proposed. This type of film is designed toproduce a reversal of thinking onthe part of the audience. In the caseof one of our own projects, SUPERVISOR AS LEADER, we are puttingthis approach into practice.
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