exam information

See here the exam information for you exam 3:

and as an additional information the assessment form  the commission will receive

 

Success!

Links Bianca Taal

Here are the links Bianca mentioned in her presentation.

 

Leones – proposal engl

Links – with comments

CineMart – 2014

additional links from Bianca

See here the links Bianca mentioned in her presentation:

 

http://vimeo.com/82460147

the pitch in which only a story is being told

http://vimeo.com/79086170

the pitch of ‘Garbage Helicopter’, about a lot more, or even maybe everything but, ‘story’

http://filmmakermagazine.com/84222-caveh-zahedis-cinemart-diary/

the diary of a filmmaker presenting his project at CineMart

http://filmmakermagazine.com/66393-the-image-comes-first/#.VDvXFPmSywg

a nice article about creating visual material to present your project. It is from a very American perspective, but there are also some interviewees (such as Keith Griffiths) who work very much in artcinema (and produces amongst others Apichatpong’s work together with Simon Field).

Bianca Taal

Kind enough: Mirka shared her notes from the workshop

 

 

Bianca Taal  4 Bianca Taal  6 Bianca Taal  5 Bianca Taal  3 Bianca Taal  2 Bianca Taal 1

first day of the workshop

Mirka was so friendly to share her images: to be found here

workshop series

here you can find the

Schedule Workshop Semester 3

Just in case …

narration in film

as we have discussed the limits and ambiguities of classical narration we want to dig into ways out of this dead end street by returning to the tools of the makers:

We will work on the card-system and we will have a close look on the elements of the narration in film.

Back to square one: what do I want to tell and how?

workshop with paul groot – last meeting

Now, the latest of the five experimental meetings, focusing on: ‘seeing differently’. This time, the screen tests of ANDY WARHOL, the minimal film archivist of the sixties.

Nothing to see, you think, although, these are well-known faces of this period of the last century. You name a famous person, Andy gives you the faces. My favorite is his portrait of Marcel Duchamp. As I remember well, Duchamp is standing in the corner of a room (or did I see this screen test in the corner of a room?). Doesn’t matter, two of the most influential faces of their time meet in a silent confrontation.

Last timer we discovered how the ALFRED HITCHCOCK’s movies and ROBERT BRESSON’s works synchronize well together. Their rhythm seems the same: so, take two scenes of these men from different movies, confront them with each other, and it seems as if you are present in one space. And more, Pablo discovered how a clock regulates the world of Bresson, and how the rhythm of footsteps made Hitchcocks ‘Vertigo’  a breath taking controller. And how in this movie BERNARD HERMANs music for strings seems to regulate our bloodstream, while other sounds attend our heartbeat.
This consciousness of an intern clock in these movies, was a great discovery, as exciting as when earlier we saw how a little time laps in two parallel projections of a fragment of INGMAR BERGMAN movie ‘Cries and Whispers’ made us much more aware of the psychological feeling of the situation.
And, we discovered how we can interpolate our own work, better Namfon’s films,  in the movies of YASUJIRO OZU’s, as if two sides of one coin.

I hope to see you, next week
Paul Groot

1) YASUIRO OZU
2) BERGMAN
3) ANTONIONI
4) BRESSON / HITCHCOCK

5) WARHOL

narration in film

I mentioned the Minnesota Declaration by Werner Herzog. You will find the full text here and as an addition there is a speach from Werner Herzog on “The Absolute, the Sublime and the Extatic Truth” that elaborates on the thoughts informing the declaration.

 

Yes and of course: here the famous scene with Klaus Kinski and Werner Herzog on the set of Fitzcarraldo (1982) – An erratum: it was on the set of Aquirre (1972) where Kinski  literally says: “Shut the fuck up! You are of no use  on a set” –  just the thing you need to hear in front of a full crew whilst shooting in the jungle.

 

The Fitzcarraldo-scene actually runs more than 7 minutes. Directing asks for bravery.

narration in film

Dear All,
we will meet tomorrow for the third brief lecture on “Narration in Film”.
We start at 16:00 in 4.20
I want to elaborate more on how the documentary tradition of film making leads to and informs  a critique of the classical narrative techniques.
As an appetizer an excerpt from Layos Egri’s “Art of Dramatic Writing”  I added as a reference a short recap of Vogler’s “Hero’s Journey” in his own words.

Regards,

Jan

workshop paul groot

Dear All,

here you can reread the announcement of Paul for the next meeting:

Hi everyone,

Last week, we made some short comparisons between some movies of Michelangelo Antonioni: the black and white of “La Notte” and “L’Aventura”, then the depressive colors of “Desert Rosso”; we looked at the colors in “Blow Up” , and ended in the shining colors of  “Zabriskie Point” (1970). The meeting of two lovers – she driving her car, he flying his plane – , but because of lack of time we missed their meeting in Death Valley in California.
Also, we had no time to get the secret of the photos in “Blowup”. But you remember, these photos of a secret meeting in a park with a strange mysterious corpse on the ground, and the stories you can fantasize about what happened when the photographer made his photos are the reason why we are here together!

Next Wednesday, we look at  “A man escaped” (1956). In this film, French director Robert Bresson filmed a prisoner on the run. In “Psycho” (1963) Alfred Hitchcock followed a murderer at home, somewhere in America.
To most of us, these two movies seem two totally different films. Are they really?
Perhaps we can look at the ideas and practice of Robert Bresson and compare them with the work of Hitchcock. And look, is this Hitchcock murderer not related to the prisoner in the movie of Bresson?

There are voices in the film world that make differences between commercial films and arty  films, between art house and Hollywood. Luckily, we know better: a good film is a good film, a bad film is a bad film.
But how to make a good film, how to avoid a bad movie! ; -)

narration in film

Just as a reminder. Tomorrow is the workshop by Eyal Sivan. So there will be no lecture this week.

A little food for thought nevertheless:
Once published under the somewhat unfortunate title “Advice for Beginners” by Victor Kossakovsky it is a small & strong piece of ‘writing on film’.
Read it here.

Regards,

 

Jan

narration in film

Birth place and harvest

                                                                                The toenail of the curve – explained

 

 

 

Dear All,

please prepare for the next meeting the following.

Think of – at least two – classical films and describe them.

Try to do so by the following scheme:

  • Who is the protagonist?
  • What is her or his conflict?
  • When, where and how is this conflict resolved?

As an example: “Casablanca” is a film about Rick, the owner of Rick’s American Café in Casablanca, who suddenly sees…

We take these descriptions as a starting point for the further examination of narrative conventions.

 

directing actors

Find here the announcement for Sara & Fedor’s  workshop:

Dear Fellow Master Students,

Good news! The dates for the intensive acting/directing-workshop are finally set.

Please let me know if you want to join, preferably before the 14th of April.
There are 6 places available for film students in total (= Master + Bachelor of the Filmacademy).
If you have any further questions, mail me or a call me: 06-50690404
Practical Information:
– We will be together for 5 weekends:  MAY 10-11, MAY 17-18, MAY 24-25, MAY 31 & JUN 1, JUN 7-8,
– The workshop will take place in a large studio at de AHK Theaterschool (Jodenbreestraat)
– Tutors are me (Fedor) and my partner Sara Alba (dance/movement teacher)
– The FEE for film students is €180 (it is the total amount for 5 weekends)
– On Saturdays the classes are scheduled from 10h to 17h, on Sundays from 13h to 17h.
– 12 students will be admitted: 6 AHK film students (master/bachelor) and 6 AHK theatre students (performing arts)
– As a participant you need to wear comfortable clothes and be prepared to move around.
About the workshop:
The workshop emphasizes on a physical approach to acting for film. We work with the body and with practical exercises that demonstrate the principles of acting and directing. As a student you will partake in three different film scenes in 3 roles: directing, assisting and acting. Working with the scenes you will experience different angles and difficulties of the process. Important to mention is that we focus on doing rather than reflecting. The workshop will enhance your skills and understanding of acting / directing in an intuitive way. It is a good moment to redefine your own ideas concerning the intimate collaboration of actor and director.
About the costs:
As an AHK MASTER FILM student I am organizing/teaching for free.
We will pay a small salary to Sara, and the rest is for production costs.
And for now we are not sure if we can include free lunch, but we are working on it. 🙂
Cheers,
Fedor (and Sara)
www.filmacting-workshop.com

narration in film

Last Wednesday I mentioned Janet Staiger’s, Kristin Thompson’s and David Bordwell’s study on classical hollywood cinema (CHC) and  the twenty-something denominators of the classical narration mentioned herein.

I got this helpful information from my former colleaque at the HFF in Munich, Dr. Michaela Krützen, who quoted CHC  in her latest book. The problem is: her book is not yet published. So we have to do the research our selves. Staiger, Thompson and Bordwell’s book counts 506 pages.

Two hints might be helpful: first CHC claims that Hollywood specializes in an excessively obvious cinema.”

Second, they state that: Very generally, we can say that classical narration tends to be omniscient, highly communicative, and only moderately self-conscious. That is, the narration knows more than any or all characters, it conceals relatively little (chiefly “what will happen next”), and it seldom acknowledges its own address to the audience.”

Food for thought.

Our task will be to see if both hints stand scrutiny and if so: how does the classical narration achieve that?

From there we have a close look at what is the prize that Hollywood gladly pays on it’s  way of telling stories in that way.

See you next week on Wednesday.

workshop paul groot

Hi everyone,

Ok,  next wednesday a new session  of this experiment in filmanalysing  and filmaking.
Now,  the swedish filmmaker Ingmar Bergman will be analyzed, And of course we try to imagine  at which point we can take over the responsabilty of his  direction Last week , we saw how Namfon took over the scenario of Ozu in the fragments of her movies! The problems of the scenarios of Ozu  – always about  new family configurations, – were made actual in Namfon’s conversation with her father.
Can we, in the same manner, also internalize Bergman in our own work?
Now we try to find a new Bergman. Different from Woody Allens Bergman adoptations, and different from many other adoptation.
We just take him serious as a ritual filmer.
How many different ritual scenarios we can imagine?
http://www.bing.com/videos/search?q=imitations++of+ingmar+bergman+films&qpvt=imitations++of+ingmar+bergman+films&FORM=VDRE
Ok, i hope to see you next wednesday!


Paul Groot

 

PS: Paul starts at 16:00 @ 4.22

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narration in film

So we started yesterday. A brief summary will follow soon.

 

 

Pablo Núñez Palma

Education
B.A. Film & TV Director (PUC, Chile)
B.A. Aesthetics (PUC, Chile)
M.A. Artistic Research (UvA. The Netherlands)

Relevant Experience
Co-director the feature film ‘Manuel de Ribera‘. Researcher of Interactive Storytelling and director of the short interactive movie ‘Fernando Moreno’s crime or revenge‘. Invited curator of experimental documentaries at Instant Cinema (Eye Institute). Co-creator of the Web Documentary ‘Docmap: the film map of a land

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