Wednesday, 13 October 2010
Tuesday, 12 October 2010
Stalker film
I need to put something in about this. Watched it on tuesday - the film was a 1000 photographs, rich, layered and stunning.
Thursday, 7 October 2010
Made in Dageham review from Time out
I thought this review was interesting, the critic refered to 'our labour' history. Unusual to align himself but good. He ends to and I wonder about his assumptions, my assumptions of the audience:
'Politically it’s light, but its mission is honest. It highlights an important episode in a style that you imagine would appeal to the same women it honours.'
David C (Time OUT)
'Politically it’s light, but its mission is honest. It highlights an important episode in a style that you imagine would appeal to the same women it honours.'
David C (Time OUT)
Doc 2 with PT
Second part of Nanook and I'm still but its slower and in some ways more beautiful and mesmeric than the first part. Winds and snow blowing in one direction, Nanook and family walking towards the camera, in the other direction. Coming towards 'us'.
Night Mail
Machines, Alienation, industrialisation, machines more important than humans, part of bigger picture, know your place. accept you place.
Night mail starts with a 3d title, we are about to show you more depth, though its contained within these boxes. It ends with a more transparent end title, though still not clear, but with a train behind it. Wires across the sky, they are more prominent, more important. Role of men, invisible women, contrast, rhythmic, rap/poem of Auden.
Grierson - 'I look at cinema as a pulpit'
'Problems facing society had gone beyond comprehension of most citizens'
'Night mail was seen as industrial enabler for social change?'
"Art is a hammer, not a mirror'
(I thought that was Brect?)
UK GPO
US Corprate
RUS Experimental
Makes sense of world affairs, economics and movements
(Was thinking whatever I create for MA, I am still representing and performing resistance, NSSN, HADPS, Web, social networking campaign profiles, support film distribution)
HOME F
We should aspire to the suburban life and the wife, the children and rest our male worries.
Rich live in the west of london, like now! And with HB cuts and general house prices little has changed. 10 years of your life goes down as you go from Kensignton to Aldgate.
Study of Film, Study of Literature
Class society accept
Even if I dont speak I am within a collective converstation, space. Why silent? why speak?
SPARE TIME F
How do workers spend thier time from 3 industrial sectors
Time 'we' call our own
Music obvious - takes one scene to next.
ACTION
Get notes from PT
Ask about DSLR camera workshop - smaller cam with lenses.. lovely!
Check filmstore on Mare st
Night Mail
Machines, Alienation, industrialisation, machines more important than humans, part of bigger picture, know your place. accept you place.
Night mail starts with a 3d title, we are about to show you more depth, though its contained within these boxes. It ends with a more transparent end title, though still not clear, but with a train behind it. Wires across the sky, they are more prominent, more important. Role of men, invisible women, contrast, rhythmic, rap/poem of Auden.
Grierson - 'I look at cinema as a pulpit'
'Problems facing society had gone beyond comprehension of most citizens'
'Night mail was seen as industrial enabler for social change?'
"Art is a hammer, not a mirror'
(I thought that was Brect?)
UK GPO
US Corprate
RUS Experimental
Makes sense of world affairs, economics and movements
(Was thinking whatever I create for MA, I am still representing and performing resistance, NSSN, HADPS, Web, social networking campaign profiles, support film distribution)
HOME F
We should aspire to the suburban life and the wife, the children and rest our male worries.
Rich live in the west of london, like now! And with HB cuts and general house prices little has changed. 10 years of your life goes down as you go from Kensignton to Aldgate.
Study of Film, Study of Literature
Class society accept
Even if I dont speak I am within a collective converstation, space. Why silent? why speak?
SPARE TIME F
How do workers spend thier time from 3 industrial sectors
Time 'we' call our own
Music obvious - takes one scene to next.
ACTION
Get notes from PT
Ask about DSLR camera workshop - smaller cam with lenses.. lovely!
Check filmstore on Mare st
Meeting - Poll Tax & 47 footage
Inbeween all this or inbetween all that I find here. .. re find.
Last night was at a meeting about ' How we beat the tories last time', it started with some footage of the Liverpool 47 and whether they would set a budget which meant cuts and Derek H. Then of the Poll Tax campaign and Tommy sheriden building the anti poll tax union.. and with Terry Fields talking about whether he would go to Jail or pay the poll tax. He went to jail.
Good footage and a great way to start the meeting.. so if its all already there then what difference or more could I add or share?
Last night was at a meeting about ' How we beat the tories last time', it started with some footage of the Liverpool 47 and whether they would set a budget which meant cuts and Derek H. Then of the Poll Tax campaign and Tommy sheriden building the anti poll tax union.. and with Terry Fields talking about whether he would go to Jail or pay the poll tax. He went to jail.
Good footage and a great way to start the meeting.. so if its all already there then what difference or more could I add or share?
Wednesday, 6 October 2010
Cinematography 2
Research in practice, being within a group, hearing and seeing.
To start the day I watched 10 minutes of The DIVING BELL & BUTTERFLY
Even ten minutes gave an flavour... Titles beautiful use of xrays, soft focus, with a nice gentle french vocal.
Opens with a POV shot from patient, waking in from a coma. Shots of fragments of faces, eyes, blurring in and out, with occasional blips of black. Nicely framed and close.
Then Read a little of Auden & Documentary and Masc - Steps right in and argues what is a workers film? As the 30's saw documentary subjects being focused that way but a lack of clarity of that meant. For a worker, by a worker, with a worker and what was a worker? Lack of class analysis suggested, yet also clear. Workers, or the working class are not uniform in thinking and being but are connected by their/our relationship to the means of production. Do we live without selling our labour? Can we? Older versions related directly to manufacturing but there is still a power, in a smaller group of workers in Britain concentrated and vilified for daring to taken any action, expect anything. RMT, RMT, RMT.
It did ask questions around gender noted the invisibility of a woman, cut out of the screen, the story the frame. That is important to note, the history of women documented is also limited, those who create, those that are portrayed, subjects, stories, and focus.
Then back to Cinematography -
Hitchcocks rule - Size of character related to size on screen
Overlap
Size change
Verticol - Above and below - Japanese
Horizontal - Eyes scan from L - R (West)
Linear perspective - 15C
Alberti - 1406 -77 Italy pre Renaisance
'Battle of xx' Converging lines
Visual depth
Foreshortening
Use of body - hand in front of shot, larger..
UCCELLO - 1432 'Caravaggio - 1601'
Supper - Low light and high contrast
Looked around for a minute, of a room of 13, two thirds men. 3 women write notes.
Haze filters out more longer wavelengths than shorter ones. - Depth
F STALKER - 15 years before Chernoboyl
CHIROSCURO
Lighting technique (Italian R)
Self Portrait - Rembrandt 1629
'Graduations of light & dark'
= low key lighting
F Barry Lyndon (Stanley Kubrick 1975)
Kubrick wanted to show how life would have been, no film stock could capture such low levels of light, until Nazi's began to develop a lens. Later Ziess developed it with an .7 Fstop allowing double the apperture of normal light.
Content of piece - the framing mirrored formality of society through the slow shot.
F 'In one'
No camera movement, long static
Individual Challenges Frame
Many filmmakers reacted to Hollywood mainstream by using long shots.
Abbas Kiorostami - 'filmmakers only make one film in life' its just broken into cinematic fragments. Does not want people to feel guilt but think and consider.
PLAN SCENE - Each film one shot
F TOUCH of Evil
Consider what tools we have to experiment and develop mood.
Tripod, Angles, Aperture, Focus
Also noticed how no-one wants to speak, the silence of doing. Don't want to be seen as leading but doing. Interesting, perhaps we have text and fb to engage so leave gaps in reality.
To start the day I watched 10 minutes of The DIVING BELL & BUTTERFLY
Even ten minutes gave an flavour... Titles beautiful use of xrays, soft focus, with a nice gentle french vocal.
Opens with a POV shot from patient, waking in from a coma. Shots of fragments of faces, eyes, blurring in and out, with occasional blips of black. Nicely framed and close.
Then Read a little of Auden & Documentary and Masc - Steps right in and argues what is a workers film? As the 30's saw documentary subjects being focused that way but a lack of clarity of that meant. For a worker, by a worker, with a worker and what was a worker? Lack of class analysis suggested, yet also clear. Workers, or the working class are not uniform in thinking and being but are connected by their/our relationship to the means of production. Do we live without selling our labour? Can we? Older versions related directly to manufacturing but there is still a power, in a smaller group of workers in Britain concentrated and vilified for daring to taken any action, expect anything. RMT, RMT, RMT.
It did ask questions around gender noted the invisibility of a woman, cut out of the screen, the story the frame. That is important to note, the history of women documented is also limited, those who create, those that are portrayed, subjects, stories, and focus.
Then back to Cinematography -
Hitchcocks rule - Size of character related to size on screen
Overlap
Size change
Verticol - Above and below - Japanese
Horizontal - Eyes scan from L - R (West)
Linear perspective - 15C
Alberti - 1406 -77 Italy pre Renaisance
'Battle of xx' Converging lines
Visual depth
Foreshortening
Use of body - hand in front of shot, larger..
UCCELLO - 1432 'Caravaggio - 1601'
Supper - Low light and high contrast
Looked around for a minute, of a room of 13, two thirds men. 3 women write notes.
Haze filters out more longer wavelengths than shorter ones. - Depth
F STALKER - 15 years before Chernoboyl
CHIROSCURO
Lighting technique (Italian R)
Self Portrait - Rembrandt 1629
'Graduations of light & dark'
= low key lighting
F Barry Lyndon (Stanley Kubrick 1975)
Kubrick wanted to show how life would have been, no film stock could capture such low levels of light, until Nazi's began to develop a lens. Later Ziess developed it with an .7 Fstop allowing double the apperture of normal light.
Content of piece - the framing mirrored formality of society through the slow shot.
F 'In one'
No camera movement, long static
Individual Challenges Frame
Many filmmakers reacted to Hollywood mainstream by using long shots.
Abbas Kiorostami - 'filmmakers only make one film in life' its just broken into cinematic fragments. Does not want people to feel guilt but think and consider.
PLAN SCENE - Each film one shot
F TOUCH of Evil
Consider what tools we have to experiment and develop mood.
Tripod, Angles, Aperture, Focus
Also noticed how no-one wants to speak, the silence of doing. Don't want to be seen as leading but doing. Interesting, perhaps we have text and fb to engage so leave gaps in reality.
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