NEXT WEEK:
October 23rd 7pm
FEATURE FILM PERFORMANCE
Cinema Village
22 E 12th St, New York, NY 10003
[Tickets | Included in SNW Pass]
Cinema Village
22 E 12th St, New York, NY 10003
[Tickets | Included in SNW Pass]
(Jennifer T Reeves | United States | 2024 | 96 min)
EAST COAST PREMIERE
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• ASSIGNMENT RESPONSES
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• TEMPORAL ARCHITECTURE (Commentary)
When you present a time-based work, you expect to occupy your viewer's attention for a fixed amount of time. Whether this is a meaningful, entertaining, or educational experience depends as much on the way that time is used as any other element of your work.
You need to consider how to structure the passage of time of your work so that in some way or another it creates a compelling experience.
Some things to consider:
I) memory and anticipation: point to the future, reevaluate the past
II) always withhold information at the same time as you provide information -- so that the viewer remains interested. This can apply to any kind of film, from abstraction to documentary to essay to fiction to music video
III) Musical structures: repetition with variations, the unsettled chord that is resolved -- dissonance (tense, unsettled) resolved by consonance
http://en.wikipedia.org/wiki/Consonance_and_dissonance
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• THE INTERVIEW (shoot in class Nov 13th)
• The interview is the equivalent of portraiture in photography or painting: an attempt to convey something of the person's character, who he or she is in a still or moving medium\
• The interview is an essential element of many types of documentary.
One approach idea is to solicit information (in the broadest sense) from a subject on camera.
A variety of choices are required at different stages of a project and by the various participants:
For the interviewer:
• Is it a series of questions or a conversation?
• Is the interviewer's presence acknowledged?
• What does the interviewer try to get from the subject? How?
Repetition is essential: to get the subject to cover the same material in different ways.
For the cameraperson:
• Framing the subject -- how much of their body to include in the frame?
• Eyeline: where does the subject look? at the lens, interviewer, into the distance?
• Placement of the interviewer in relation to camera and subject?
• Scale: Closeup, medium shot etc
• Cutaways: What can be filmed on the interview 'set'?
Other Materials
Post production:
Shaping the spoken text
Managing edits
Cutaways / B-Roll / Archical Materials
Adding extra audio, e.g music
etc.
Examples
I. Basic TV Interview Style
Eugene Jarecki THE HOUSE I LIVE IN (2012)
THE_HOUSE_I_LIVE_IN (Eugene Jarecki 2012)-DavidSimon.mov
THE_HOUSE_I_LIVE_IN (Eugene Jarecki 2012)-JohnsonFamily.mov
II. Cutaways as extra information
Les Blank BURDEN OF DREAMS (1982)
(Herzog + subversive cutaway)
III. Presence of Filmmaker Nick Broomfield's Approach
Nick Broomfield BIGGIE AND TUPAC (2002)
Nick Broomfield BIGGIE AND TUPAC (2)
VI Errol Morris -- Looking at You
Errol Morris FAST CHEAP AND OUT OF CONTROL (1998)
Errol Morris TABLOID (2010)
Errol Morris Standard Operating Procedure (2008
VII Harnessing the Subject's Hostility
Nathaniel Kahn MY ARCHITECT (2003)
VIII Editing the Subject's Speech + Visible Signs of Emotion
(Tears Per Second)
Barbara Kopple_American Dream(1990).
IX. Silent Talking Heads
7. Wim Wenders PINA (2011)
[Five examples]
X About Something Else
GW Johanna Gosse on Ways of Seeing / Ways of Something
John Berger / Lorna Mills + Collaborators