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Directing the Narrative Shot Design
DIRECTING THE NARRATIVE and SHOT DESIGN The Art and Craft of Directing by Lubomir Kocka Series in Cinema and Culture © Lubomir Kocka 2018. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Cinema and Culture Library of Congress Control Number: 2018933406 ISBN: 978-1-62273-288-3 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. CONTENTS PREFACE v PART I: DIRECTORIAL CONCEPTS 1 CHAPTER 1: DIRECTOR 1 CHAPTER 2: VISUAL CONCEPT 9 CHAPTER 3: CONCEPT OF VISUAL UNITS 23 CHAPTER 4: MANIPULATING FILM TIME 37 CHAPTER 5: CONTROLLING SPACE 43 CHAPTER 6: BLOCKING STRATEGIES 59 CHAPTER 7: MULTIPLE-CHARACTER SCENE 79 CHAPTER 8: DEMYSTIFYING THE 180-DEGREE RULE – CROSSING THE LINE 91 CHAPTER 9: CONCEPT OF CHARACTER PERSPECTIVE 119 CHAPTER 10: CONCEPT OF STORYTELLER’S PERSPECTIVE 187 CHAPTER 11: EMOTIONAL MANIPULATION/ EMOTIONAL DESIGN 193 CHAPTER 12: PSYCHO-PHYSIOLOGICAL REGULARITIES IN LEFT-RIGHT/RIGHT-LEFT ORIENTATION 199 CHAPTER 13: DIRECTORIAL-DRAMATURGICAL ANALYSIS 229 CHAPTER 14: DIRECTOR’S BOOK 237 CHAPTER 15: PREVISUALIZATION 249 PART II: STUDIOS – DIRECTING EXERCISES 253 CHAPTER 16: I. -
A Happening? Creative Film-Making Resource Unit. PUB DATE 69 NOTE 47P
DOCUMENT RESUME ED 041 006 TE 001 913 AUTHOR Daley, Mary E. TITLE A Happening? Creative Film-Making Resource Unit. PUB DATE 69 NOTE 47p. EDRS PRICE EDRS Price MF-$0.25 HC-$2.45 DESCRIPTORS Class Activities, Color Presentation, Concept Formation, *Creative Activities, Creative Expression, *Film Production, *Films, Film Study, Photocomposition, Photography, Sound Films, Student Interests, Student Motivation, Student Participation, Student Projects, Teaching Methods ABSTRACT To change the classroom trend of promoting competition among children and repressing their feelings, this unit on film making focuses on a creative activity which will enable students to(1) make new things meaningful to them; (2) see purpose and meaning in familiar things; (3) observe and create beauty in life and art; (4) redefine or form their own concepts from highly dramatized ideas; and (5)discover their individual relationships with their environment. Four sub-units--film art, motion pictures, visual language, and making a film--present plans for such activities as viewing films; reading books and periodicals; writing critical reviews, scripts, scenarios, and research reports; discussing; producing films; and lecturing. Also provided are suggested film assignments; examples of a working scripti a movie outline,a sequence chart for shooting, a shooting script, and a story board; and a list of youth films entered in film festivals. (JM) 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 NECES- SARILY REPRESENT OFFICIAL OFFICE CF EDU- C) CATION POSITION OR POLICY. C:) A HAPPENING? CREATIVE FILM-MAKING RESOURCE UNIT Mary E. -
Film & Documentary Script Writing Process
Vol-1 Issue-4 2015 IJARIIE-ISSN(O)-2395-4396 Film & Documentary Script Writing Process SONU SHARMA Assistant Professor,Department of Mass communication & Television-Film Technology NIMS University Jaipur, Rajasthan, India ABSTRACT Film and documentary script writing is easy process. It’s related to our real lives, ideas and emotions, mind and passion, revolve in different spheres altogether. If we can see any emotional seen in film or documentary, we react immediately. In reel life they are meaningful the instant they happen. A well-written film and documentary script is achannel through which you can create feeling and epiphany at will. That is one motive why it is possibly the most critical facet of the filmmaking process. The script consists of scene headings, character names, dialogues, actions etc. Rich intelligence related to the movie can be extracted easily and accurately from each component of the script. But since the script does not contain time information, additional processes are required to synchronize the script with the movie. Many filmmakers write a paper edit after shooting in place of a script. This process has and does work with many types of films. However in most of the films, the filmmaker will ask the question what should I shoot.Now it is imperative to start out with a well-written script, whether or not things change during the shooting process. Frequently preparing a script before can make the difference between a bad film and a good film. Following the principals of script writing techniques we make best, a good film and a great film. -
NOS Template Landscape
National Occupational Standards Production (Film and TV) National Occupational Standards TABLE OF CONTENTS INTRODUCTION 5 PRODUCTION PROCESS 6 CORE STANDARDS BY AREA OF COMPETENCE 8 SECTORAL USE 10 FILM AND TELEVISION PRODUCTION STANDARDS FORMAT 12 SUPPORTING SUITES 13 P1 GENERATE IDEAS FOR A FILM OR TELEVISION PRODUCTION 14 P2 SECURE CONTENT FOR A FILM OR TELEVISION PRODUCTION 16 P3 DELIVER A SCRIPT FOR FILM OR TELEVISION PRODUCTION 17 P4 CONTRIBUTE TO THE DRAFTING OF SCRIPTS, CUES, LINKS OR WRITTEN CONTENT IN TELEVISION PRODUCTION 18 P5 SECURE FINANCIAL RESOURCES FOR THE FILM OR TELEVISION PRODUCTION 20 P6 IDENTIFY AND NEGOTIATE COPYRIGHT ISSUES 22 P7 CLEAR COPYRIGHT MATERIALS 23 P8 ENSURE COMPLIANCE WITH REGULATIONS AND CODES OF PRACTICE 25 P9 ASSESS THE VIABILITY OF THE PROJECT IN CONJUNCTION WITH DISTRIBUTORS AND SALES AGENTS 28 P10 RESEARCH IDEAS FOR A FILM OR TELEVISION PRODUCTION AND PRESENT FINDINGS 29 P11 OBTAIN ARCHIVE MATERIAL FOR PRODUCTION 31 Creative Skillset Production (Film & TV) NOS 2 Approved January 2013 P12 PLAN AND SCHEDULE THE FILM OR TELEVISION PRODUCTION 33 P13 CONTROL THE OVERALL PLANNING OF THE PRODUCTION 35 P14 SELECT CREW AND SUPPLIERS TO MEET PRODUCTION REQUIREMENTS 37 P15 ORGANISE PRE-PRODUCTION ACTIVITIES ON A FILM OR TELEVISION PRODUCTION 39 P16 CO-ORDINATING PRODUCTION RESOURCES – KIT AND EQUIPMENT 41 P17 CONTROL PRODUCTION MATERIALS, EQUIPMENT AND SUPPLIES 43 P18 CO-ORDINATE ACTIVITIES TO SUPPORT PRODUCTION PERSONNEL 45 P19 CO-ORDINATE PRODUCTION PAPERWORK 47 P20 IDENTIFY AND RECOMMEND CONTRIBUTORS AND -
The Truman Show : the Shooting Script
: -\P* \ l l®j f* • w\ s . - ■ m, r-- '¥$*., _ -ur.cL Pf • “p- - ftt iO aLagjaL, ' iff ^ Svi G;’ 'Ijif kJltilll lid] P' j*i O' •! ;.- hi h Irygl^^ &L W. T< . ''^ -/.* l*A > ‘ ,L ,< ■ •* ' l , !?>’ { - il -i '' (■*« '.._■ ' ;$i| ■ -.• > > .•' ~ -— i -A •*' if SCRffNPLAY, TORIWORD, AND NOTH BY ANBRtW N 1C CO L INTRODUCTION BY PfTtR WtlR THE TRUMAN SHOW THE TRUMAN SNOW SCRKKPUY, TORIHORD, AND HOItS BY ANDREW NICCOL INTRODUCTION BY PETER WEIR 1 A Newmarket Shooting Script™ Series Book NEWMARKET PRESS • NEW YORK Cover art, screenplay, and all artwork © 1998 by Paramount Pictures. All rights reserved. Foreword and notes © 1998 by Andrew Niccol Introduction © 1998 by Peter Weir The Truman Show™ is a trademark of Paramount Pictures. This book is published simultaneously in the United States of America and in Canada. All rights reserved. This book may not be reproduced, in whole, or in part, in any form, without written permission. Inquiries should be addressed to Permissions Department, Newmarket Press, 18 East 48th Street, New York, New York 10017. 10 98765432 Library of Congress Cataloging in Publication Data available upon request ISBN 1-55704-367-1 Quantity Purchases Companies, professional groups, clubs, and other organizations may qualify for special terms when ordering quantities of this title. For information, write Special Sales, Newmarket Press, 18 East 48th Street, Suite 1501, New York, New York 10017, or caU (212) 832-3575, or fax (212) 832-3629. Manufactured in the United States of America OTHER NEWMARKET SHOOTING SCRIPTS™ INCLUDE Merlin: The Shooting Script The Birdcage: The Shooting Script U-Turn:The Shooting Script The Shawshank Redemption: The Shooting Script Swept from the Sea:The Shooting Script A Midwinter’s Tale: The Shooting Script The People vs. -
Film and Television 201
www.avc.edu (661) 722-6300 Film and Television 201 Definition Lighting Director Screenwriter The popular culture of the twentieth century is forever marked Line Producer Script Supervisor by the amazingly rapid advancements in the mediums of film and Media Consultant Stage Manager television. We have become a civilization influenced by visual Movie Reviewer Studio Camera Operator images as they link with the ancient art of storytelling. Studying Producer Technical Director Film and Television teaches us how our lives have been, and Production Assistant Video Artist continue to be, informed and shaped by these powerful mediums. Production Coordinator Videographer (Careers may require education beyond the two-year college level.) Staff Please dial (661) 722-6300, then the 4 digit extension. Division: Program Learning Outcomes Kathryn Mitchell, Dean x.6385 Film, Television, and Electronic Media AS-T Tangie Hunter, Administrative Assistant x.6385 1. Students will plan, script, budget, light, shoot, provide sound Vacant, Clerical Assistant III x.6385 recording/design and edit a short film production. Lisa Karlstein, Department Chair x.6534 2. Students will develop an understanding of screenplay format Faculty and will write a short film script. Kevin North x.6044 3. Students will demonstrate an understanding of the different Adjunct Faculty: V.M. phases of film production as well as film theories, criticism, David Lewis 2463 history, aesthetics & vocabulary. Matthaeus Szumanski 2016 Alissa Welsch 2124 Certificate Program Program Description Certificate not applicable. The course offerings fall into two categories: film/television history and theory, and film/video production. Both areas are Associate Degree designed to build specific skills upon a strong foundation of Film and Television courses can be included in the 18 units general knowledge of film and television production. -
STUDENT FILM CREW JOB DESCRIPTIONS the Director Guides All Creative Aspects of Production but Does So with a Collaborative, Open
STUDENT FILM CREW JOB DESCRIPTIONS The Director guides all creative aspects of production but does so with a collaborative, open mind. If not also the writer, the Director chooses the screenplay and works with the writer to prepare the final shooting script. On set, the Director works with the DP to make decisions about each shot/take and directs the performance of the actors. Specific duties will include: • Hand-off all important knowledge and information to the Producer in prep • Audition cast and choose the talent • Choose a DP and Production Designer capable of bringing the vision to life • Conduct script analysis, breaking each scene into dramatic beats and rehearsing with talent • Collaborate with the DP to determine the style of the cinematography and prepare shot lists, storyboards, floor diagrams, etc. • Conduct visual research and work with the Production Designer and other Art Dept. personnel to make sure they have a clear understanding of and agreement on the creative vision • Attend tech scouts to walk the key crew personnel through each stage of the shoot • Communicate vision and thank the crew at the production meeting • Rehearse with and direct talent on set • Call action and cut • Give notes to Script Supervisor on each take • Communicate needs through the 1st AD • Screen dailies with editor and offer notes Producer/Production Manager The Producer/PM, under the supervision of the Director, coordinates, facilitates, and oversees the preparation of the production unit, including: all off-set logistics, day to day production -
Foreword the Road to Interactivity Also These Voices the Effect Of
2 Foreword And Yet It Moves Anna Warso, Paweł Pyrka 4 The Road to The Influence of Media Izabela Convergence on Talent Show Interactivity Programs Kurczewska, 14 Also These Voices Technology and Gender in the Joanna Kucharska, Practice of Fanvidding 30 The Effect of Rafał Uzar Technology on Language and the Importance of Language Technologies 42 Is There a Literature Urszula Pawlicka in this Class? 58 When Man Becomes The Creation of ‘Symborgs’ Ewelina Twardoch Machine in Pop Cultural Universes 72 Technologized Video Games as a New Form Ewa Drab Culture or Cultured of Storytelling Technology? 82 (Re)Designing Human Genetics in Cinema. The Dialectics Aneta Jałocha of Past, Present and Future 94 Stereo Vision and The Influence of 3D Technology on Piotr Fortuna the Imaginary Man the Experience of the Film Viewer 102 Technology Fear and Desire: A Female Robot Zbigniew as Witchcraft in Fritz Lang’s Metropolis Wałaszewski 110 Fifty Shades of Real The Sexual and the Virtual in Rafał Morusiewicz Spike Jonze’s Her 120 Abstracts 2 kultura popularna 2013 nr 4 (38) Anna Warso, Paweł Pyrka Fore‑ word: And Yet It Moves Anna Warso, Paweł Pyrka Foreword: And Yet It Moves 3 The following collection of articles revolves around the points of convergence between technology in its broadest possible sense and the limitless space of popular culture. As a result, the phenomena, artifacts and mechanisms discussed by their authors represent a minuscule fraction of potential top‑ ics which have been emerging in recent years in discussions on art, culture, media, philosophy, and, ultimately, (post ‑)humanism. The rhizomatic land‑ scape of postmodernity appears, after all, to be viewed best through the lens of technological media; in fact it seems to thrive on the sort of indeterminacy resulting from the dynamics of obsolescence inscribed in the concept of progress and the uneasy balancing act inextricably linked to the aesthetics of technol‑ ogy. -
Wiesław Dymny : Wszystko Ma Dobry Koniec, Czyli Śmierć Author
Title: Wiesław Dymny : wszystko ma dobry koniec, czyli śmierć Author: Piotr Zawojski Citation style: Zawojski Piotr. (1994). Wiesław Dymny : wszystko ma dobry koniec, czyli śmierć. W: T. Miczka, A. Madej (red.), "Syndrom konformizmu? : kino polskie lat sześćdziesiątych" (S. 195-219). Katowice : Wydawnictwo Uniwersytetu Śląskiego PIOTR ZAWOJSKI Wiesław Dymny — wszystko ma dobry koniec, czyli śmierć „On nie mówi po to, aby komuś dawać dobre rady, on to mówi, bo ma taką potrzebę; potrzebę, żeby wszystkim opowiedzieć, jak mu się wiodło i nie wiodło.” W. Dymny: Pieśń nad pieśniami 1. Malarz, prozaik, poeta, aktor, scenograf, karykaturzysta, sce narzysta — to tylko część profesji artystycznych, jakie wyko nywał Wiesław Dymny. W różnych okresach twórczości kolejne dziedziny wysuwały się na czoło, zmieniała się hierarchia waż ności poszczególnych form aktywności artystycznej. Właściwie tylko kabaretowi pozostawał wierny przez całe swoje dorosłe życie. To w kabarecie właśnie debiutował jako autor tekstów w roku 1956. „Kabaret Studentów”, „Remiza” i ten najważniej szy: „Piwnica pod Baranami”. Dwudziestoletni wtedy Dymny od kilku już lat był studentem krakowskiej Akademii Sztuk Pięk nych i to malarstwo było dlań w tym okresie zasadniczą formą wypowiedzi artystycznej. Na czwartym roku studiów, na podsta 196 Piotr Zawojski wie przedstawionych prac, został członkiem Związku Polskich Artystów Plastyków. W tym też czasie, czyli w roku 1958, po jawiają się pierwsze publikacje w „Zebrze”, „Tygodniku Pow szechnym”, „Przekroju”, w tymże roku otrzymuje Dymny wy różnienie za dwa opowiadania w konkursie „Współczesności”. Wydaje się, że te pierwsze literackie sukcesy mogły być po wodem przerwania studiów, które podejmie wkrótce, ale osta tecznie uczelni nie ukończy. Niewątpliwie przyczyni się do tego również rozpoczęcie współpracy z filmem i telewizją. -
Shaping the Craft of Screenwriting: Women Screen Writers in Silent Era Hollywood by Donna Casella
Shaping the Craft of Screenwriting: Women Screen Writers in Silent Era Hollywood by Donna Casella Contents 1. Advancing the Form 2. Influencing the Story 3. Navigating Industry Problems In a 1921 Picturegoer article, Jeanie Macpherson advised prospective writers not to worry about submitting scenarios with scene by scene outlines; instead they should send in a synopsis of 3000 words and a scenario staff would reshape the material for shooting. She warned her audience: “Do not have the camera in mind as you write.” 1 In contrast, by 1926 Francis Marion in Photoplay was advising those interested in adaptations to go beyond plot, to translate the original story “into screen language.” 2 Their different perspectives on how to write for the screen reflected the rapid changes in the craft during Hollywood’s silent period. Women, like Macpherson and Marion, were very much a part of these changes. As Wendy Holliday points out, about 50% of the scenarios were written by women; although, the exact percentage is unknown due in part to inconsistent crediting. 3 In fact women’s presence was felt in multiple areas of the American film industry including writing, directing, producing, and editing, as the industry initially welcomed, even sought out, their contribution. Women wrote both original and adapted scenarios. In addition, they contributed story ideas, served as story editors and continuity writers, and wrote titles. As department and unit heads, they further impacted the stories being told. Women were everywhere as the craft of screen writing took shape. With many of the films and scripts from this period lost, scholars have turned to archival sources, such as fan and trade publications, memoirs and biographies, to explore women’s contribution. -
Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is -
Writing Film a Good Practice Guide
Writing Film A Good Practice Guide www.writersguild.org.uk The Writers’ Guild of Great Britain is a trade union registered at 134 Tooley Street, London SE1 2TU Writing Film Index PART ONE: GOOD PRACTICE 3 Introduction . 3 2 Aims . 3 3 British film industry – a writer’s view . 4 4 Key relationships . 5 5 Working together . 7 PART TWO: CONTRACTS 1 Existing agreements . 9 2 From idea to shooting script . .10 3 Rights . .11 4 Writer services agreements . .13 5 Cut‑offs and replacement . .17 6 Definitions . .18 7 Credit Arbitration . .20 8 Other Disputes . .21 9 New Media . .22 PART THREE: JOINT VENTURE AGREEMENT . .27 CONTACTS . .29 2 Writers‘ Guild Writing Film Here I am paying big money to you writers and what for? All you do is change the words. SAMUEL GOLDWYN 1. INTRODUCTION These guidelines are for screenwriters and anyone who works with writers in film. Film-making can be a roller-coaster, with thrilling creative highs and corresponding lows. We hope that, by explaining the various stages and contracts involved and outlining suggestions of best practice, your particular ride will be easier, happier and more productive for all concerned. This is a document written by working screenwriters from their own experience, with the benefit of expert advice. However we must emphasise how important it is to have professional advice from an agent or media lawyer before signing a contract. If this is not available to you, the Writers’ Guild can offer further advice to members. 2. AIMS To encourage co-operation and good working relationships between writers and other film-makers To enhance the rights and status of writers in the development and production process and, in particular, to safeguard original work To offer practical guidance as to what writers should expect, seek or accept in negotiating contracts and working on scripts To help writers on very low budget films to work creatively and fairly, through use of a Joint Venture Agreement Writers‘ Guild Writing Film 3 3.