background preloader

Independent Study

Facebook Twitter

PAN'S LABYRINTH—Interview With Guillermo Del Toro - ScreenAnarchy. I met up with Guillermo Del Toro at the Ritz Carlton for a brief chat about his latest film Pan's Labyrinth. Without question, Del Toro has been one of the individuals I have most wanted to talk with all year. I didn't have access at Toronto and wasn't able to attend San Diego's Comicon as originally planned and so the opportunity to hook up today felt very much like a gift for the holiday season.

Guillermo is friendly, down-to-earth and charmingly cusses a blue streak. Not for the prudish nor the spoiler-wary. Michael Guillén: First and foremost, congratulations on winning the San Francisco Film Critics Circle award for Best Foreign Language film earlier this week. Guillermo Del Toro: I love it. MG: As well as comparable accolades and nominations across the board, including the recently-announced Golden Globe nomination for Best Foreign Language Film.

Del Toro: It's just fantastic. MG: …and well-deserved. Del Toro: Fuckin' A! Del Toro: Thank you. MG: Yes. Del Toro: That's great. MG: Sure. The ASC -- American Cinematographer: Fear and Fantasy. Stoker: Colour the Narrative | Clothes on Film. Here is a brief extract from editor Chris Laverty’s third ‘Fabric of Cinema’ column for international periodical Arts Illustrated. The main reason for a plug is the subject matter discussed: colour, without doubt one of the most fascinating aspects of theoretical costume study. Colour is so open to interpretation that any occasion costume designers dare to use it with intentional meaning constitutes a brave move. One of the finest costume events of the year so far, Stoker, provides just such an example. Costumers Kurt and Bart deliberately incorporated colour as a form of expression to be read alongside the film’s similarly intentional production design.

A preview of the Arts Illustrated piece ‘Colour the Narrative’ is included below. To get the entire magazine either download the issue online or subscribe to the hard copy: ‘Artistic interpretation of colour is entirely subjective. Colour in cinema is one of the most important facets of narrative. . © 2013 – 2014, Lord Christopher Laverty. Stoker director Park Chan-wook: 'In knowing yourself, you can liberate yourself' | Film.

Park Chan-wook is clearly in a very dark place. His head is bowed, his mood blue. What terrible circumstances could be troubling the South Korean director who masterminded the queasy excesses of Oldboy and the rest of his Vengeance trilogy? Recent incarceration by an unknown malefactor? Is he being hounded by a secret black-market organ-smuggling operation? In fact, his cat has died, and he's still struggling to cope. "I'd had him for more than 10 years. " Mooka, Park's Russian Blue puss, was just one of the victims of a kitty reaper that stalked the set of his new film, Stoker. And a domestic void is at its heart, too: Mia Wasikowska stars as India Stoker, an 18-year-old girl mourning the death of her father in a car accident, unlike her mother Evelyn (Nicole Kidman), who seems liberated – especially when her husband's mysterious brother Charlie (Matthew Goode) appears at the funeral.

He leads by example. And so we got Park for the devil's party. Neon Demon’s Natasha Braier On Working With Nicholas Winding Refn | IndieWire. When cinematographer Natasha Braier first read “Neon Demon,” she didn’t particularly like writer-director Nicolas Winding Refn’s script. “When we met at his house he asked what I thought of the script and I was honest about what wasn’t working for me,” Braier told IndieWire in a recent interview. “Nicolas smiled, ‘Oh, you got the fake script.’ Apparently he is very cautious about sending his real scripts out into the world.” On her drive home from Refn’s, Braier’s agent called saying she’d been offered job. READ MORE: In ‘The Neon Demon,’ The Real Villain Is Female Competition – Girl Talk Nicolas Winding Refn “I said that I’d love to work with him, but I don’t really know what the movie is about,” Braier recalled with a laugh. The Unique Creative Process Refn had Braier watch 10 films, including “Rosemary’s Baby,” “Clockwork Orange,” “Beyond the Valley of the Dolls,” and “Scorpio Rising.”

“The Neon Demon” READ MORE: Jim Jarmusch DP Frederick Elmes on Capturing the Soulful Essence of ‘Paterson’ 2046 | Wong Kar-wai | Nathan Lee. After five years in production, dozens of interruptions, numerous cast changes, multiple cinematographers, the reconstruction of a half-million-dollar set, the completion of three major side projects, an eleventh-hour world premiere at Cannes, two radically different edits, a thousand import DVDs, endless rumors, infinite expectations—the phenomenon known as 2046 has finally arrived. What does it all add up to? First, what it is not: a science-fiction film by Wong Kar Wai. Or at least not the one suggested by the first visual tease I discovered on the Internet several years ago: a sepia-tinted still of—what?

—some fabulously convoluted dystopia? I recall the numbers “2046” emblazoned lengthwise across the image in an embossed, label-gun font. Every passenger who goes to 2046 has the same intention. Vestiges of a lavish science-fiction movie turn up in 2046 as excerpts of a novel being written by Chow Mo Wan (Tony Leung), a lovelorn journalist in mid-Sixties Hong Kong. 'It was like being in jail' | Film. The Edinburgh film festival's loss has turned out to be London's gain: the UK premiere of Hong Kong director Wong Kar-wai's 2046.

After the film's debut in Cannes in May, Edinburgh, with the blessing of UK distributor (and 2046 pre-buyer) Tartan Films, announced that it would be the closing night presentation. The news came as a surprise to the movie's sales agent, Fortissimo, which had been turning down festival invitations in other territories. "Edinburgh was never planned by us or Wong Kar-wai," says Fortissimo co-president Wouter Barendrecht. "We always knew that the film would be delivered just before the opening in Asia in early October. " Only a week before Edinburgh began, the festival was forced to announce that it was replacing 2046 with E J-Yong's Korean film, Untold Scandal. Tartan had to change its release date from October 15 to early 2005. The story of the production's tortuous progress toward the screen is nearly as dense as that of the film itself.

The use of black and white segments within modern colour films. An essay for 'Case Studies in Media Production and Interpretation' MA in History of Film and Visual Media David Mitchell November 2001 Note: Halfway through writing this essay, I came across the text of a lecture by Adrienne Redd that covers somewhat similar ground. Her primary focus is on how 'color and black-and-white have been used together for symbolic effect' and she mentions several of the same films I do, such as Pleasantville and The Purple Rose of Cairo, as well as many more that I do not. Although I found her work a useful stimulus, I have tried to avoid plagiarism by steering my essay away from the issues on which she concentrates. The lecture, 'Chroma-Cinema: the Use of Color in Color and Black-and-White Films', can be found at the Criticism.Com web-site: Most transitions in cinema history are relatively sharp.

In an attempt to reverse the decline, Technicolor introduced a three-colour process in 1933. Web References: Gary R. Robert Mills » Colour and Storytelling in Films. Colour can have political, religious and cultural connotations, represent gender and as believed by Kandisnky, have emotional and physical effects on us. Colour can also improve our memory, influence buying decisions, indicate meaning and tell stories.

It’s that very last one that interests me most. In this post I want to focus on the use of colour as a storytelling device in films. My inspiration for this post came when I recently watched Oz the Great and Powerful. This film was released earlier this year and IMDB sums the story up nicely: A small-time magician is swept away to an enchanted land and is forced into a power struggle between three witches. The film is a lot of fun and is a real treat visually. As Oz travels through a storm in his hot air balloon he arrives in a magical land that also happens to be called Oz, a place full of colour.

This pattern is mirrored in Oz the Great and Powerful. This was a tribute to going from black-and-white to Technicolor. 10. Color Design in the Cinema of Wong Kar-wai | Shohini Chaudhuri. Ibfilmassessment. The Auteur Theory and Women Directors | Historical & Contextual Studies. The Auteur Theory and Women Directors “Traditionally, in any art, the personalities of all those involved in a production have been a factor in judgment, but that the distinguishability of personality should in itself be a criterion of value completely confuses normal judgment. The smell of a skunk is more distinguishable than the perfume of a rose; does that make it better?” (Kael, 1979) In this essay I will put forward the argument that the Auteur Theory only exists because white European and American male film critics have created it.

Film criticism has been influenced by the Auteur theory since the 1950s, with film critic Francois Truffaut leading the way. Andrew Sarris proposed three criteria for recognising an Auteur: (1) technical competence; (2) distinguishable personality; and (3) interior meaning arising from tension between personality and material. According to Ramanathan, 2006, the views of the female critic are virtually irrelevant. Sarris, P. of C. Like this: Film Guide 2010%5B1%5D. Ontheroad29 - Production Portfolio. Back to IB FilmProduction PortfolioAssessment This aspect is worth 50% of the IB Film grade. Open the attachment to see which criteria it is graded to. It is VERY important that you understand this carefully as you MUST check the criteria against your own work to see if your work is able to achieve a high grade. Self-assessment and reflection is a very important part of the IB. So after you think you have finished your work do the following:Read it through carefully (watch it through too in the case of your film and trailer)Re-read the assessment criteria and the various bandsSelf-assess you work.

Being COMPLETELY honest, which bands do you think your work falls into? And here's the pretty colourful one ;o) Pre-Production There is SOOO much to do BEFORE you begin to shoot. Top 200 films (directed by women) - a list by minalex. IB Film Resources. Rubrics & Exemplars - IB Film.