MA Screenwriting Student Handbook 2017/18 1 Version: September 2017, Final
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved. -
Motion Picture Science: a Fully Integrated Fine Arts/STEM Degree Program
Motion Picture Science: A Fully Integrated Fine Arts/STEM Degree Program Victoria M. Scholl, Megan M. Iafrati, David L. Long, Joseph J. Pow Rochester Institute of Technology, vms3476, mmi7593, dllppr, [email protected] Abstract - Technology has advanced in such a way that Today, a majority of Americans entertain themselves there is now a need within the motion picture industry, with ubiquitous TV shows, movies, and video games as as well as in society in general, for professionals trained opposed to attending some form of live entertainment. with a comprehensive knowledge of Science, Technology, Further, they are increasingly accessing this content on- Engineering, and Mathematics (STEM) as well as the demand and across multiple platforms at home and on-the- traditional Arts. In the School of Film and Animation go. As technology has advanced, so too have the (SOFA) at Rochester Institute of Technology (RIT) a possibilities in the world of art, an idea that has been novel undergraduate program has been developed to embraced in most professional practices but is less well cultivate students into professionals with the skill sets addressed in education. Motion picture professionals are necessary to fill this niche. This undergraduate program expected to have a certain technical proficiency as well as is Motion Picture Science (MPS), a degree developed to an understanding of artistic principles but there is often a give students relevant tools to take into synergistic divide between those two subjects within education. This STEM and Arts careers in the modern motion picture rift has prevented artists and engineers from collaborating to industry. Pioneered in 2007, Motion Picture Science has the greatest extent possible in formative experiences during consistently boasted increasing enrollment and secondary and post-secondary learning, leading to a successful graduates who earn meaningful employment widespread lack of understanding of the entire process of in the fields of their choosing. -
UG Course Handbook
Off Campus Provision of London Metropolitan University, Department of Humanities, Arts, Languages and Education The London Film School MA SCREENWRITING Course Handbook For admission in 2013-14. Contents (a) Introduction to the Course ............................................................................................ 4 (b) Using This Handbook ................................................................................................... 4 2. Postgraduate Study at London Metropolitan University ....................................................... 4 3 The course .......................................................................................................................... 5 (a) General ........................................................................................................................ 5 (h) Location and Facilities supporting the course .................................................................... 8 (i) Disability and Dyslexia........................................................................................................ 8 4. Being a Postgraduate Student ......................................................................................... 9 (a) Attendance and employment ....................................................................................... 9 (b) Studying ..................................................................................................................... 10 (c) Mobile Phones .......................................................................................................... -
Ma Filmmaking
Off Campus Provision of London Metropolitan University, Department of Humanities, Arts, Languages and Education The London Film School MA FILMMAKING Course Handbook For admission in 2015-2016 Contents (a) Introduction to the Course ..................................................................................................... 4 (b) Using This Handbook ............................................................................................................. 5 2. Postgraduate Study at London Metropolitan University .................................................. 5 3 The course ........................................................................................................................ 6 (a) General .................................................................................................................................. 6 (b) Exercises: Terms one to five ................................................................................................... 7 (c) Graduation film ...................................................................................................................... 7 (d) Specialisation ......................................................................................................................... 7 (e) Practical Skills ......................................................................................................................... 8 (f) Writing ................................................................................................................................... -
Goodbye to Film School: Please Close the Door on Your Way Out
7 Goodbye to Film School: Please Close the Door on Your Way Out T o b y M i l l e r am not an expert on film schools, though I used to work in one. Nor have I I undertaken an exhaustive analysis of the six hundred such entities that sup- posedly exist across the United States. 1 But here I am, writing about that sym- bolic behemoth of the film school, the United States. Three film schools stand out among the putative six hundred: the University of Southern California (USC—a private university in Los Angeles), the University of California Los Angeles (UCLA—part of the state’s é lite ten-campus public sys- tem), and New York University (NYU—also private, and where I taught for over a decade). The Hollywood Reporter ’s list of the top 25 film schools has those three in the top five, along with the Beijing Film Academy and the American Film Institute.2 I am particularly interested in these three universities because they are Research-One schools and hence produce ruling-class hegemons and scholarly researchers as well as factory fodder / creatives for world cinema. And their film academies started early—USC in 1929, UCLA in 1947, and NYU in 1965. I’ve drawn on experience, anecdotal repute, and political-economic-environmental analysis to investigate the culture of these film schools, their employment impact, their cost, and their future. Here’s my headline: film schools shouldn’t exist. They should be schools of media and cultural studies, dedicated to displacing both the residual humani- ties (textual analysis and history) and the emergent humanities (business stud- ies). -
PDF Download George Lucas a Life 1St Edition
GEORGE LUCAS A LIFE 1ST EDITION PDF, EPUB, EBOOK Brian Jay Jones | 9780316257442 | | | | | George Lucas A Life 1st edition PDF Book Lucas's colleagues and competitors offer tantalizing glimpses into his life. I've always wanted to know more, and I received this as a gift for Christmas. Apr 08, Liz Dee rated it it was amazing. No turning back. It's an inter Despite his being one of the most famous film-makers on the planet, I really didn't know much about George Lucas prior to reading this biography. He penned many a proposal and turned out a blockbuster hit in American Graffiti , though it was anything but guaranteed. Sign in to Purchase Instantly. Related Reads. I liked that this wasn't all sunshine and roses. Apr 22, Matt rated it it was amazing Shelves: audiobook. I did take a great deal away from this book and hope to learn more about the man, as Jones has paved the way and offered a few interesting pathways worth following. It offers a "behind the scenes" look at his business life, as well as his personal life. I was sad when this reading ride ended Think about that for second One killer. The book covers everything from Lucas' parents to "Strange Magic," the last movie Lucas produced as of early Jones' Lucas is the same introvert familiar to Star Wars fans, but also a loving father and a helpless romantic. Now, the author of the bestselling biography Jim Henson delivers a long-awaited, revelatory look into the life and times of the man who created Luke Skywalker, Han Solo, and Indiana Jones. -
Porsche Award Hall of Fame
PORSCHE AWARD HALL OF FAME Please consult the following list to see the vitas of all shortlist-candidates until 2009 - if you wish to select a specific year, simply click on it. 1. Shortlist 2017 2. Shortlist 2016 3. Shortlist 2015 4. Shortlist 2014 5. Shortlist 2013 Click below to see the shortlist-nominees of the years 2012 - 2004: 6. Shortlist 2012 - 2009 7. Shortlist 2008 - 2004 1 BIOGRAPHIES SHORTLIST Shortlist 2017 Zara Dwinger - The Netherlands Film Academy, Netherlands Film: The Most Powerful Weapon Length: 49“ Zara Dwinger was born and raised in Amsterdam. After travelling, studying Cultural Anthropology, and exploring photography, acting and writing, she realised that her true passion had always been film. She attended the Netherlands Film Academy, where she graduated as a director in 2017. During her time there she co-directed a feature film, and directed several short films, music videos and commercials. Her graduation movie Sirene focused on a young boy struggling with his gender identity, which won several prizes and garnered critical acclaim. She seeks to tell unique stories in a creative way and challenges herself to do something different each time. Filmography: THE MOST POWERFUL WEAPON (commercial for Stop Pesten NU, 2017) SIRENE (short film, 2017) PEARLS (music video for Avi On Fire, 2016) GUESS WHO’S BACK II (theatre teaser for YoungGangsters, 2016) GUESS WHO’S BACK I (theatre teaser for YoungGangsters, 2016) LIV (short film, 2016) LOVE/HATE (commercial for Oedipus Brewery, 2015) IK GELOOF DAT IK GELUKKIG BEN (co-direction, feature, 2015) LOS VAST (music video for Josephine Zwaan, 2014) 2 Bernd Faass - Germany Film: Better Safe Than Worry Length: 1‘26“ My name is Bernd. -
JOB DESCRIPTION Job Title: Film Festivals Coordinator Reporting To: Library, Film Archive and Film Festivals Manager Contract
JOB DESCRIPTION Job Title: Film Festivals Coordinator Reporting to: Library, Film Archive and Film Festivals Manager Contract: Permanent, Part Time (21 hours per week) Salary: £26,000 pro rata, per annum Last Updated: October 2018 Job Summary The Film Festivals Coordinator promotes the School and maximises exposure for our student/graduate films, by ensuring optimal Film Festival submissions. The post-holder provides advice and professional, proactive and efficient administrative support for effective LFS’ presence at Film Festivals globally. They work across departments, to ensure information is communicated effectively, alongside building strong film festival, student and graduate relationships. They exemplify high standards of customer care, and travel as an ambassador for the school at UK Film Festivals, and occasionally overseas. Main Responsibilities • Coordinating all film festival submissions and attending festivals as appropriate; • Ensuring all data relating to festival submissions and awards is kept up to date and accurate in LFS database; • Building and maintaining relationships internally with colleagues and externally with festival programmers; • Advising students on film festival submissions, entry procedures and deadlines; • Maintaining communication and good relationships with all students and alumni, particularly regarding delivery of legal and marketing materials relating to their productions; • Attend graduation screenings each term (during the day or evening); • Produce and circulate the weekly Festivals Digest; • -
Film Production
Film Production “Our instructors bring real world knowledge, insight and contacts to your education.” Film North Toronto Campus 2000 Steeles Ave. W Concord, ON L4K 4N1 Production Downtown Campus 18-MONTH DIPLOMA PROGRAM 10 Dundas St. E, Suite 704 Toronto, ON M5B 2G9 1-866-467-0661 www.torontofilmschool.ca TorontoFilmSchool @TorontoFilmS TorontoFilmS1 Film Production Overview With the explosion of growth in independent film, the Canadian entertainment industry, digital filmmaking and specialty channels on television, graduates of the Film Production program are in demand. Right from the start, highly skilled and adaptive film production graduates are well positioned for many creative and exciting career opportunities. The Film Production program at Toronto Film School blends both creative and technical skills training to prepare graduates for work as: • Directors • Producers • Cinematographers • Editors • Cameramen and more Specific courses explore every area of production, from storyboards to studio practices, and include writing, editing, lighting and cinematography, audio, video formats and video production. Students are trained with hands-on camera work starting from the beginning of Term 1. Students benefit from the support and mentorship of faculty who are successful working professionals in their respective fields. Students also enjoy the unique opportunity to collaborate with other Toronto Film school students and instructors in other creative programs, including Writing for Film and Television, Acting for Film, Television and Theatre, as well as Video Game Design and Development and Video Game Design and Animation. The Film Production Diploma is now offered at two locations: the downtown Toronto, Dundas Square campus and the North Toronto, Steeles campus. Film production students have the choice to complete their program at the most convenient campus. -
Biographical and Cultural Introduction
Cambridge University Press 978-0-521-48043-7 - The Filllls of Mike Leigh: Embracing the World Ray Carney Excerpt More information Biographical and Cultural Introduction Mike Leigh was born in 1943, the son of a Jewish doctor whose father had come to London from Russia. All of Leigh’s grandparents were Yiddish-speaking immigrants (he even had a great-grandfather who was editor of a Zionist newspaper before World War I), and Leigh is both proud and critical of his Jewish background.1 However, it has only been in recent years that he has begun to talk openly about his ethnic past and been a member of a socialist Zionist youth group, Habonim.2 How- ever, after visiting Israel under Habonim’s auspices in the summer of 1960, he became disillusioned with Israel’s policies toward the Arabs and dropped out of the movement. It wasn’t until 1991 that he was willing to go back to Israel, accepting an invitation to attend the Jerusa- lem Film Festival, which was showing Life Is Sweet.3 Leigh’s family kept a kosher home and were active Zionists, but neither has he been traditionally religious nor, as an adult, shown any interest in or formal identification with Jewish communal and cultural organizations. Despite these feelings, his Jewish roots are an undeniable part of who Leigh is, though they are a private rather than public aspect of his life. Those roots are also a factor that, he admits, have contributed to his being an outsider and rebel. Jewishness, however, has never been the subject of his art (excepting the unpleasant, middle-class Jewish characters in Hard Labour, who live in a house only two doors from where he grew up), though he has talked vaguely of making a film about the world of his parents and grandparents. -
Banlieue Films Festival (BFF): Growing Cinephilia and Filmmaking in Senegal
Banlieue Films Festival (BFF): Growing cinephilia and filmmaking in Senegal Estrella Sendra SOAS, University of London and Winchester School of Art, University of Southampton [email protected] http://orcid.org/0000-0001-8344-2928 ABSTRACT This article examines small film festivals in the socio-cultural context of Senegal. Through the case study of the Banlieue Films Festival (BFF) in Dakar, founded in 2013 by Abdel Aziz Boye, I analyse the crucial role of festivals in strengthening the film industry, fostering cinephilia and encouraging the practical application of cultural policies. I suggest that contemporary film production, particularly, in the past five years (2015-2020) has been significantly shaped by grassroots initiatives that have eventually been transformed into structures. I also explore the role of “rooted cosmopolitans”, borrowing Kwame Appiah’s term in relation to the figure of Abdel Aziz Boye, who founded Cine UCAD at the Universite Cheikh Anta Diop, in Dakar, Cine Banlieue, and, upon returning to Senegal from France, the BFF. I discuss BFF’s various forms of legacy, concluding that it has been an active agent in forging a new cinephilia and inspiring a wave of young filmmakers in Senegal. KEYWORDS Banlieue Films Festival; Senegalese filmmaking; cinephilia; “rooted cosmopolitan”; film training; ethnography. Introduction Senegal enjoys an emblematic position in the history of African cinema. Following the increasing independence of African countries from French colonialism, Senegal became the home of pioneering filmmakers who would soon acquire international recognition, such as Ousmane Sembe ne (1923- 2007), Safi Faye (n. 1943), and Djibril Diop Mambe ty (1945-1998). These filmmakers sought to decolonise minds through the medium of film, and in doing so, to create a cinema from, by and for African people. -
A Tribute To... Award to British Film Director Mike Leigh
MEDIA RELEASE A Tribute to... Award to british film director Mike Leigh Zurich, August 17th, 2015 Leading Exponent of New British Cinema This year’s Zurich Film Festival A Tribute to... award goes to British film director Mike Leigh, one of the most significant exponents of New British Cinema. Mike Leigh will collect the Golden Eye in person during the Award Night ceremony at the Zurich Ope- ra House on October 3. Screened during the ZFF, a comprehensive retrospective comprising a number of his productions will offer insight into his work. Mike Leigh will also head a ZFF Public Master Class. Mike Leigh is known to cinema audiences across the globe for films such as HIGH HOPES (1988), LIFE IS SWEET (1990), NAKED (1993), SECRETS AND LIES (1996), VERA DRAKE (2004), HAPPY-GO-LUCKY (2008), ANOTHER YEAR (2010) and, most recently, MR. TURNER (2014). Often set against the backdrop of a work- ing-class Britain, his sensitive works have garnered a variety of important film awards. Mike Leigh, together with his director colleagues Ken Loach and Stephen Frears, is an important exponent of so-called New British Cinema, a genus of filmmaking that has performed a filmic analysis of and cast its critical lens upon social developments in Britain since the 1980s. It frequently highlights the personal fortunes of Britain’s lo- wer classes. Stephen Frears was recipient of the first ever A Tribute to… award in 2006. Theatre, Television, Cinema Mike Leigh was born in 1943 in Salford, North West England. He learned his craft and his oft-praised sensitive approach to actors and actresses in the theatre.