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The DIY Filmmaker's Toolkit

The DIY Filmmaker's Toolkit
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Les années Godard, par Bernard Eisenschitz Jean-Luc Godard présente Film Socialisme en 2010. Il suscite la perplexité, sinon le silence critique. Mais depuis lors ont paru six livres consacrés au cinéaste, auxquels s’ajoutent le texte même du film. le commentaire de la moitié du premier chapitre d’Histoire(s) du cinéma par Jean-Louis Leutrat, au long de sept articles — « Retour sur Histoire(s) », parus dans la revue Trafic, entre l’été 2009 et l’hiver 2010 —, et enfin plusieurs publications en DVD. Comme si l’œuvre ne pouvait être appréciée que dissoute dans l’analyse ou l’anecdote. Richard Brody, rédacteur au New Yorker, et Antoine de Baecque ont publié chacun une biographie de Godard. Pas d’erreurs graves ni de révélations majeures à propos de ses films, pas plus que dans l’érudit Dictionnaire de Jean-Luc Douin, paru récemment chez Stock. Il y aurait beaucoup à dire à propos de Godard et de l’enfance, mais certainement pas dans ce registre. Taille de l’article complet : 772 mots. Vous êtes abonné(e) ? Vous n'êtes pas abonné(e) ?

Pixar's 22 Rules of Storytelling as Image Macros Back in 2011, then Pixar storyboard artist Emma Coats (now freelancing) tweeted 22 rules of storytelling, according to Pixar. Coats learned the ‘guidelines’ from senior colleagues on how to create appealing stories, tweeting the nuggets of wisdom over a 6 week period. Last week, artist and User Experience Director at Visceral Games (a subsidiary of Electronic Arts), Dino Ignacio, created a series of image macros of the 22 rules and posted them to Imgur and Reddit. Below you will find the list of image macros along with a text summary of Pixar’s 22 rules of storytelling at the end of the post. [Sources: Emma Coats, Dino Ignacio, The Pixar Touch] Pixar’s 22 Rules of Storytelling #1: You admire a character for trying more than for their successes. #2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. #3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. #5: Simplify.

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! Take comfort in the idea that a screenplay is not meant to have any literary value. As you're writing, be mindful to preserve only the most important details: information that will advance the story. 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. Think subtext.

Forever's Not So Long 10 Famous Films That Surprisingly Fail The Bechdel Test All this week, Film School Rejects presents a daily dose of our favorite articles from the archive. Originally published in September 2011, Ashe Cantrell applies the simple, ever-relevant Bechdel Test to a number of high profile movies… The Bechdel Test, if you’re not familiar with it, is a benchmark for movies developed by Alison Bechdel in 1985. Sounds simple, right? But it’s still surprising to find out that some of the most popular films of all time fail the test, and often for reasons you may have never considered. 10. Camera shots, angles and movement, lighting, cinematography and mise en scene, Film overview, Skills by text type: film, English Skills Year 9, NSW | Online Education Home Schooling Skwirk Australia Film Techniques Film techniques is the term used to describe the ways that meaning is created in film. Camera Shots A camera shot is the amount of space that is seen in one shot or frame. An extreme long shot (animation on right) contains a large amount of landscape. A long shot (animation on right) contains landscape but gives the viewer a more specific idea of setting. A full shot (animation on right) contains a complete view of the characters. A mid shot (animation on right) contains the characters or a character from the waist up. A close-up (animation on right) contains just one character's face. An extreme close-up (animation on right) contains one part of a character's face or other object. When analysing a film you should always think about the different camera shots and why they are being used. Important: These camera shots are used in all forms of visual texts including postcards, posters and print advertisements. Camera angles Camera movement Others Lighting Cinematography

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. 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. 12. 13. 14.

Classical Hollywood Cinema On the most basic level, a genre can be defined as a category or type. When applied to film, the concept gets more complex. Genre films were considered "ordinary" films, modestly aiming for a mild variation of a familiar story. John Ford and John Wayne, for example, are linked to the Western, while MGM, with the now-famous Freed unit (headed by composer/lyricist Arthur Freed), excelled at musicals. While the studios routinely employed loose classifications of subject matter, formal genre designations, such as gangster or melodrama, were applied retroactively by scholars and historians. Isolating a group of films and designating a genre presents a conundrum. To take a genre such as the "Western," analyze it and list its principal characteristics, is to beg the question that we must first isolate the body of films which are "Westerns." Another approach would situate genres more carefully within their historical and cultural context.

Vieux réalisateur culte cherche distributeur John Carpenter, Dario Argento et Abel Ferrara (pressenti pour réaliser un film sur l'affaire DSK) n’ont pas grand-chose en commun, si ce n’est d’être des seniors et d’avoir mis en scène quelques-uns des films les plus marquants du siècle dernier. Depuis quelques années, les trois bonhommes partagent également une infortune commune: celle de ne plus trouver le chemin des salles obscures. Comment ces réalisateurs reconnus en sont-ils arrivés là? Leurs derniers métrages sont-ils à ce point dénués d’intérêt qu’ils méritent l’ostracisation des distributeurs? publicité Le doyen de ce trio improbable, l’Italien Dario Argento, 71 ans au compteur, détient la place enviée de maître du Giallo, le genre horrifique transalpin. Même pas droit à un «direct to DVD» Après cette déferlante, Argento amorce mollement le tournant des années 1980 (Ténèbres, Phenomena), propose encore quelques surprises dans les années 1990 (Le Syndrome de Stendhal) puis collabore à la série Masters of Horror (deux épisodes).

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