Grammaire du cinéma | Screenplay Basics - Scripped - StumbleUpon A Scripped Compendium by Johnathan Carr Traditional storytelling recounts past events, whereas screenwriting is locked in the present - thus you may not deviate from PRESENT TENSE. You may also be tempted to describe every inch of the world you're creating - don't! At the beginning of a feature film script, often but not always, the first line will be: FADE IN. While you can write a longer ACTION paragraph, think about keeping it under five lines at a time. In the ACTION line, be sure to capitalize SOUND EFFECTS, CAMERA DIRECTION and the first appearance of a speaking CHARACTER. Use a PARENTHETICAL to note an action the speaker is performing while speaking or if you want to indicate whom the speaker is addressing such as addressing a new character in mid-DIALOGUE. Off camera (O.C.) and off screen (O.S.) are identical, which one you use is really a personal preference. Describe specific SHOTS only when necessary, not every little bit of CAMERA DIRECTION need be mentioned. Think subtext.
Cinéma pour la classe Photo Michel Connors, s.d. Votre contact Christelle Poulain-Chaigné Le cinéma pousse les portes de l'école et devient un matériau d'enseignement à part entière. Ce dossier rassemble de nombreuses ressources pédagogiques pour étudier en classe quelques-uns des films emblématiques de ces dernières decennies. Les films sont regroupés en fonction de leur langue d'origine et les niveaux d'enseignement sont également précisés. Afin de faciliter leur exploitation, les fichiers qui vous sont proposés sont téléchargeables et imprimables au format .pdf. Nous vous invitons à vous reporter au dossier École et cinéma réalisé par le CDDP du Haut-Rhin. Films en allemand Pour commencer... Almanya – Willkommen in Deutschland de Yasemin Samdereli Suis-je Turc ou Allemand ? Angst essen Seele auf, de Rainer Werner Fassbinder Das Leben der Anderen, de Florian Henckel von Donnersmarck Der Untergang, d'Olivier Hirschbiegel La Chute, ou les dernières heures du plus grand dictateur du XXe siècle. Guerrière de David Wnendt
15 Film Production Credits Explained Ever wonder what all those strange credits are when they roll by at the end of a film? I used to, until I moved to LA, where I started meeting Best Boys and Dolly Grips with their kids when I took my son to the playground—yes, Hollywood, where you meet Gaffers and Armourers at your average Saturday night house party. So I started asking questions, and here's what I've learned: 1. Boom Operator No, this job has nothing to do with explosives or pyrotechnics. 2. Now this job does deal with explosives, of a sort. 3. Though the gaffer manages the entire electrical department, all the guys who run cables and hang lights, his main responsibility is mounting and positioning lights and lighting rigs. 4. Grips are sort of like worker bees. 5. This guy runs the Grips dept and assists the Gaffer. 6. This guy has nothing at all to do with a wedding, unless we're talking something like Wedding Crashers . 7. A dolly grip operates the movie camera dolly. 8. 9. 10. This guy oversees the painting dept. 11.
Metaphilm - See through cinema. Observations on film art The Adventures of Prince Achmed. Kristin (with some help from David) here: David and I have been offering this greatest-of-90-years-ago series almost as long as this blog has existed. For earlier annual entries, see 1917, 1918, 1919, 1920, 1921, 1922, 1923, 1924, and 1925. I approached 1926 with the assumption that it would present a crowded field of masterpieces; surely it would be difficult to choose ten best films. Still, the Soviet directors were going full-tilt by this time and contribute three of the ten films on this year’s list. The Russians are coming Vsevolod Pudovkin’s Mother was a full-fledged contribution to the new Montage movement in the Soviet Union. Along with Potemkin, Mother was one of the key founding films of the Montage movement. As the Mother sits beside her husband’s dead body, her son, a participant in the 1905 failed revolution, comes in. Mother was released on DVD by Image Entertainment in 1999, but it seems to be very rare. Petit mais grand Lloyd and Lubitsch
| The Permanent Seminar on Histories of Film Theories | Film Studies For Free 100 Ideas That Changed Film by Maria Popova How the seventh art went from magic lanterns to state-of-the-art computer-generated imagery in 100 years. When a small handful of enthusiasts gathered at the first cinema show at the Grand Cafe in Paris on December 27, 1895, to celebrate early experimental film, they didn’t know that over the next century, their fringe fascination would carve its place in history as the “seventh art.” But how, exactly, did that happen? In 100 Ideas that Changed Film, Oxford Times film reviewer David Parkinson and publisher Laurence King — who brought us 100 Ideas That Changed Graphic Design and the epic Saul Bass monograph — offer a concise and intelligent chronicle of the most influential developments since the dawn of cinema. Parkinson promises in the introduction: What follows is as much a chronology of business opportunism and technical pragmatism, as a celebration of artistry, social commitment, and showmanship. Idea # 1: MAGIC LANTERNS Idea # 20: SERIALS Idea # 28: GENRE Idea # 54: SHORTS
Nolan vs. Nolan DB here: Paul Thomas Anderson, the Wachowskis, David Fincher, Darren Aronofsky, and other directors who made breakthrough films at the end of the 1990s have managed to win either popular or critical success, and sometimes both. None, though, has had as meteoric a career as Christopher Nolan. His films have earned $3.3 billion at the global box office, and the total is still swelling. Yet many critics fiercely dislike his work. I have only a welterweight dog in this fight, because I admire some of Nolan’s films, for reasons I hope to make clear later. Four dimensions, at least First, let’s ask: How can a filmmaker innovate? You can innovate by tackling new subject matter . You can also innovate by developing new themes . Apart from subject or theme, you can innovate by trying out new formal strategies . Finally, you can innovate at the level of style —the patterning of film technique, the audiovisual texture of the movie. Style without style Well, on the whole they aren’t stylistic.
Being Winston Wolfe: 9 Reasons Why 'Pulp Fiction' is the Management Guide Every Indie Filmmaker Needs Winston Wolfe in "Pulp Fiction." Remember Harvey Keitel as Winston Wolfe? Of course you do. His appearance in “Pulp Fiction” as the fixer, the cleaner who knew how to take care of Jules’ and Vincent’s boneheaded mistakes, was a model of efficiency under pressure -- a no-nonsense performer who got the job done with style. And, as producer Justin Szlasa presents in this terrific essay, if every movie set were run by Winston Wolfe, the world would be a better place. Szlasa recently produced the digital filmmaking doc “Side By Side” that premiered at the Berlin International Film Festival. It looks like the time he spent in that considerably wonkier arena will serve him well as an independent filmmaker. However, there’s a dearth of Winston Wolfes in the world, and certainly on indie film sets. So here’s Justin Szlasa’s take on how to do just that. -- Dana Harris THE WOLF I'm Winston Wolfe. We read the trades and attend panel discussions. We have excuses. Prioritize This seems obvious.
Nel labirinto della Mente – “Inception”: l’ingannevole realtà del sogno Con Nel labirinto della Mente, Nientepopcorn.it vi propone una serie di film caratterizzati da trame in cui la psiche umana è protagonista, generando sub-realtà capaci di trarre in inganno sia i protagonisti della vicenda che il pubblico: il nuovo appuntamento è con un dramma camuffato da thriller diretto da un acclamato cineasta contemporaneo. Le rivelazioni sono dietro l’angolo, per cui, occhio allo spoiler! Dom Cobb (DiCaprio) e uno dei suoi collaboratori, Arthur (Joseph Gordon-Levitt), in azione Vincitore di 4 Oscar e di un numero notevole di premi ricevuti in occasione delle manifestazioni cinematografiche a cui ha partecipato in tutto il mondo, il film INCEPTION (2010) ha per protagonista Dom Cobb (Leonardo DiCaprio, SHUTTER ISLAND), conoscitore di una tecnica capace di valicare le barriere delle Menti altrui, entrando in esse ed agendo al loro interno mentre il soggetto ospite giace assopito nella realtà. Il totem usato dall’Architetto Ariadne (Ellen Page) L’anziano Mr.
Le cadre au cinéma (composition, angles, plongée et contre-plongée) Dans l'analyse filmique, l'analyse du cadre est la première étape avant les analyses des autres moyens de mise-en-scène spécifiques au cinéma : le plan, le montage et le son. On appelle cadre, le système clos, relativement clos, qui comprend tout ce qui est présent dans l'image, décors personnages, accessoires. L'image projetée définit un espace filmique qui est la portion d'espace imaginaire reconstituée par le spectateur. Il est constitué du champ et du hors champ. Le champ est la portion d'espace imaginaire qui est contenu à l'intérieur du cadre. Ne sera étudié ici que la composition du cadre, saturé ou raréfié, géométrique ou physique. La composition du cadre A : Cadre saturé et cadre raréfié Les éléments contenus dans le cadre sont tantôt en très grand nombre, tantôt en nombre très restreint. La profondeur de champ et le grand écran ont permis de multiplier les données indépendantes : La surimpression est une manière particulière de saturer le plan pour lui donner plus d'intensité.
La composition de l’image au cinéma partie 1 Bonjour à tous, Aujourd’hui j’ai décidé de me lancer dans la rédaction d’un article en trois parties sur la composition de l’image (ou plan cinématographique). Évidemment, tout ce que je vous dirai dans ces articles n’est pas immuable et vous trouverez toujours des contre-exemples. En composition, on divise généralement une image en six parties où s’appliquent deux lignes verticales et deux lignes horizontales. Ces lignes, dites « lignes de force », se croisent en quatre points appelés « points de force », ici entourés en rouge. Ces points sont les fondements de la composition plastique de l’image. Dans le cinéma, comme dans la photographie, il est généralement de rigueur de décentrer le sujet pour ainsi casser l’impression de symétrie qui n’est pas toujours esthétique. Ceci dit, libre à vous de ne pas respecter cette règle et de choisir le centrage. Jason Schwartzman, dans A bord du Darjeeling Limited de Wes Anderson Ci-dessous deux tiers de ciel et un tiers de terre.