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Elenco Dispense E Info.Pdf Indicazioni per sostenere l’esame ed elenco delle dispense L’esame si svolgerà in tre parti: 1 - presentazione del proprio montaggio, sul tema della città, come indicato nel programma. NB: Lo studente dev’essere in grado di mostrare e commentare, su richiesta, la timeline di montaggio. 2 - analisi di un film a scelta (vedi indicazioni più sotto) 3 - approfondimento attraverso dialogo o domande sugli argomenti delle dispense e dei testi: storia del montaggio, linguaggio cinematografico e grammatica del montaggio, elementi di editing non lineare, ecc. Le dispense si trovano al seguente link: https://drive.google.com/drive/folders/14fnCMJTKwUEyqnZHRm9JP8D-NW_K1hUx? usp=sharing Dispensa n. 1 - Il principio di Montaggio Dispensa n. 2 - Walter Murch - in un batter d'occhi - estratto Dispensa n. 3 - Cenni storici Dispensa n. 4 - Editing non lineare Dispensa n. 5 - parte monografica (da inserire) NB: Si ricordi che oltre alle dispense è necessario, per sostenere la parte teorica dell'esame, lo studio completo dei testi di Cassani e Vitella (come specificato nel programma). Link utili: https://www.nyfa.edu/student-resources/a-beginners-guide-to-film-editing- vocabulary/ https://www.brevestoriadelcinema.org/ https://www.ilcinemamuto.it/betatest/ https://www.lacomunicazione.it/voce/cinema/ https://fliphtml5.com/jkwl/rnii/basic Tutorial per Final cut Pro e Da Vinci Resolve: https://www.youtube.com/watch?v=6yAUYgDuYi0 https://www.youtube.com/watch?v=6yAUYgDuYi0 Link al sito Blackmagic, dove si possono versioni di Da Vinci precedenti alla 17 (se la versione attuale dovesse affaticare troppo il computer): https://www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion Filmografia (PER FREQUENTANTI E NON) E’ necessario aver preso visione dei seguenti film : - Le Voyage dans la lune (G. Méliès, 1902) - The life o fan american fireman (Edwin S. Porter, 1903) - Le jardinier, (L’arroseur arrosé), Auguste e Louis Lumière (1895) - L’arrivée d‘un train a La Ciotat, Auguste e Louis Lumière (1896) - Cabiria (1914, G. Pastrone) - Nosferatu, eine Symphonie des Grauens F. W. Murnau, 1922 - La Corazzata Potëmkin, (S.M. Ejzenštejn 1925 - editors: Grigori Aleksandrov, Sergei Eisenstein) - Metropolis (1926, F. Lang) - Chelovek s kino-apparatom, L’uomo con la macchina da presa (Dziga Vertov, 1929 - editors: Dziga Vertov, Yelizaveta Svilova (assistente al montaggio) - Un chien andalou (1928, L. Bunuel; S. Dalì) - Modern Times (Charlie Chaplin 1936; editor: Willard Nico) - La grande illusione (1937, J. Renoir; editors: Marthe Huguet, Marguerite Renoir) - Citizen Kane (1941, O. Welles, editor Robert Wise) - Casablanca (Owen Marks, 1942) - North by Northwest, Intrigo Internazionale, (Alfred Hitchcock, 1959; editors: George Tomasini, 1959) - Psycho (1960, A. Hitchcock, editor: George Tomasini) - À bout de souffle (1960, J.L. Godard; editor: Cécile Decugis) - Lawrence d’Arabia ( David Lean, 1962; editor: Anne V. Coates) - Il buono, il brutto, il cattivo (Sergio Leone, 1966; editors: Nino Baragli, Eugenio Alabiso) - Persona (1966, I. Bergman; Editor: Ulla Ryghe) - Apocalypse Now (1979, F.F. Coppola, Editors: Lisa Fruchtman, Gerald B. Greenberg, Walter Murch) - Stalker (1979, A. Tarkovskij; editor: Ljudmila Fejginova) - La double vie de Véronique, La doppia vita di Veronica (Kieslowskij 1991; editor: Jacques Witta) - JFK (Oliver Stone, 1991; editors: Pietro Scalia, Joe Hutshing) - Matrix (The Wachowskis, 1999; editor: Zach Staenberg) - Arca Russa (Sokurov, 2002; post-produzione: Stefan Ciupek, Sergei Ivanov, Betina Kuntzsch, Patrick Wilfert) - I Sette Samurai (Koichi Iwashita, Akira Kurosawa, 1954) - Shining ( Stanley Kubrick, 1980; editors: Ray Lovejoy, Gordon Stainforth) - The Tree of Life (Terrence Malick, 2001; editors: Hank Corwin, Jay Rabinowitz, Daniel Rezende, Billy Weber, Mark Yoshikawa) - Memento (Christopher Nolan, 2000; editor: Dody Dorn) COME FARE L’ANALISI DELLE SEQUENZE DEL FILM A SCELTA: in sede di esame lo studente sarà invitato ad analizzare 4 scene tratte da un film a scelta fra quelli indicati sopra, analizzandole singolarmente dal punto di vista del montaggio. L’analisi si articolerà rispondendo in particolare alle seguenti domande: 1) Quanti tagli contiene la sequenza e perché? 2) Qual’è la durata media delle inquadrature? Sono molto frammentate o relativamente lunghe? 3) Qual è il punto chiave del montaggio in ogni scena scena e a cosa serve? (A chiarire? A stimolare? A rendere un passaggio più lirico? A creare suspense? A esplorare un'idea o un'emozione in profondità)? 4) Il montaggio appare manipolativo o intende lasciarci liberi di interpretare le immagini da soli? 5) Che tipo di ritmo stabilisce il montaggio di ciascuna scena? 6) La personalità del regista si manifesta in modo forte ed esplicito nel montaggio o la presentazione delle scene è relativamente obiettiva e funzionale? 7) Il montaggio è un sistema linguistico prevalente i importante nel film scelto oppure il regista lo relega ad una funzione di secondo piano? 8). Che stile di montaggio rappresenta la sequenza e perché? .
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