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New Wave Films - Welcome

New Wave Films - Welcome

'Deseando Amar', deseando sufrir Normalmente, no suelo pensármelo mucho, pero para esta crítica tenía claro que quería esa imagen que tenéis arriba. Si en la de ‘Besos de Vampiro’ me referí a anécdotas que representan una película, aquí habría que hablar de planos. Ésa es una de las imágenes que siempre me viene a la mente cuando recuerdo el film, y la prefiero a otras (aunque no aparezca el precioso rostro de Maggie Cheung) porque representa perfectamente, sólo ese plano, toda la película. Situada en el Hong Kong de los años sesenta, ‘Deseando Amar’ (‘Dut yeung nin wa’, 2000) nos presenta a dos personas que se trasladan al mismo bloque de edificios y, casualmente, están viviendo una situación muy parecida con sus respectivas parejas, a los que cada vez ven menos. Kar-Wai hace acompañar su historia con una banda sonora que, igual que su película, es sencillamente deliciosa. Me resulta imposible poner en palabras todo lo que consigue transmitir ‘In the Mood for Love’, así que voy acabando.

Cinéma d'Asie Festival de San Sebastián :: Mija vive con su nieto adolescente en una pequeña ciudad dormitorio cerca del río Han. Mija es una señora a la que le gusta llevar sombreros floreados y ropa elegante, pero también es una persona imprevisible y llena de curiosidad. Se apunta por casualidad a un taller de poesía en un centro cultural del barrio y, por primera vez en su vida, se ve en la obligación de escribir un poema. El primer paso que da en busca de inspiración poética es observar la vida diaria a su alrededor, en la que nunca se había fijado. Lee Changdong Empezó trabajando en teatro y escribiendo novelas. Dirección: Guion: Producción: Lee Joondong PINEHOUSE FILM Tel +82 31 967 1322 pinehouse09@gmail.com Coproducción: Unikorea Culture & Art Investment Co. Fotografía: Kim Hyunseok Montaje: Kim Hyun Intérpretes: Yun Junghee, Lee David, Kim Hira, An Naesang Ventas: Finecut 4F Incline BD, 891-37, Daechi-dong, Gangnam-gu, Seoul, 135-280 Korea Tel 822 569 8777 Fax 822 569 9466 cineinfo@finecut.co.kr Yura Kwon - Resp. Duración: 139 m.

ZINEMA Hollywoodland LA DIRECCION DE ARTE Obscure Classics Tintin's Virtual Art You could say that Avatar set the stage for The Adventures of Tintin. The animated feature, directed by Steven Spielberg, features digital comic-book characters acting with the help of performances captured from actors using a process similar to one James Cameron developed for Avatar. Similarly, to help set the stage for the production and help Spielberg visualize the 3D world in which Tintin would act, virtual art department supervisor Robert Powers, now vice president of 3D development at NewTek, assembled a virtual art department, much as he had done for Avatar. IMAGE: (c) 2011 Paramount Pictures. What is a virtual art department? We are the interface between the art department and production. So, you built virtual sets? Yes. Why did you create these sets? The director could use these virtual sets to do location scouting and make changes. Were these virtual sets used during shooting? How did the process work? How does the virtual art production process—and the result—differ from previs?

“The Godard Years” Translated by Sally Shafto Excerpt from: Antoine Bourseiller, Sans relâche: Histoires d’une vie (Actes Sud, 2008): pp. 227-245. Reprinted in English translation with the permission of Antoine Bourseiller and Actes Sud . The years 1963-4 are a wheat field, the colour of gold, like you see in Soviet films, years of happy encounters with the icons of French cinema of that time. I was the director of the Studio des Champs-Elysées, a theatre of 250 seats, located at 15 Avenue Montaigne. My office was at the end on the sixth floor. One day, in the winter of 1962, a man the same age as me, thirty-two, entered my office. “This is why I came to see you.” He had a friend, Jacques Rivette, who had written a script after Diderot’s La Religieuse . “Here is what I would like to propose to you. The man who was speaking was Jean-Luc Godard, famous since À bout de souffle [1959], the film that had laid down the gauntlet for the new generation. This man would turn our lives, mine and Balkis’, upside down.

Richard Parsonson | Director of Photography LIGHTING & CAMERA TIPS FOR FILM & TV Information for students of cinematography General lighting tips for beginners If you are just starting out with lighting, the best thing to do is find still images or scenes from a movie that you love - then work out how the lighting was done and try to recreate it. Think about what feeling it gave you when you first saw the image. A great way to start learning about lighting is to work out work out how an experienced cameraman did the job. Looking at the reflections in peoples' eyes, is one way you can find out where lights have been placed and what sort of reflectors or diffusion were used (American cinematographer magazine often has shots from movies showing lighting setups). Less is more - viewers enjoy images more when they have to think a bit about the content. Remember you don't need all the big toys to light well, one person can be lit well with one lamp and a couple of reflectors. Lighting outdoors Lighting in a studio Shooting Video Career paths

Greatest Film Directors Greatest Film Directors of All-Time: These honored selections are designed as a tribute to some of the greatest directors of predominantly English-language films, with suggested or recommended Best Films or 'Must-See' Films from their filmographies. Unfortunately, some of these directors have been pushed aside to make way for more recent works, but it should be noted that many of these film-makers were highly innovative mavericks and renegades who challenged the established 'system' that existed during their time. These choices are meant to encourage discussion and comparison, and to educate filmgoers about some of film history's most legendary and influential forces in film-making. The premise of honoring these film directors is based upon the debatable auteur theory -- the idea that the director is the primary 'author' or voice of a movie, and through a director's film, we see one person's way of viewing the world -- one that has the potential to change the way we see the world.

Diarios | Détour, cuaderno de apuntes

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