Friday 31 January 2020
Thursday 30 January 2020
Rashomon by Akira Kurosawa
Watch Rashomon by Akira Kurosawa.
It's in the shared area. (Hollywood - contextual)
You will need to add the subtitle track - this is in the same folder.
We are watching to get to grips with Japanese film.
Deadline - Monday p4
Contact me if you have a problem.
Tuesday 21 January 2020
Monday 20 January 2020
Wednesday 15 January 2020
Ridley Scott Timeline
Task: Watch the Scott timeline above and create your own paper version.
Deadline: Friday 24th of Jan
You must include the following:
- dates
- names of films
- genre
- an overview of recurring elements that you have spotted
- answer the question? Is Ridley Scott an Auteur? Why?
- why on earth is Bladerunner classed as New Hollywood?
You could include the following:
- fun Ridley facts
- other directors from New Hollywood
- colour images!
Wednesday 8 January 2020
Soviet Montage / Dziga Vertov
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Task:
Watch the video essays above and read the intro below. Take notes and produce evidence that you understand Soviet Montage, Experimental Documentary Film, the timeline, Editing and the techniques utilised by Vertov.
Deadline - Thursday 16th of Jan
Intro to Soviet Montage
Even the most passive moviegoer will be familiar with the concept of montage. Their exhaustive use in 1980s Hollywood action films has led to countless parodies and far more selective use of the technique from filmmakers ever since. However, there’s much more to montage theory than Rocky Balboa would have you believe, and it all started during the Soviet Union's early years.
Just like French Impressionist cinema, Soviet Montage came from the concept that film theory doesn't necessarily have to align with theatre, as the filmmaking process provides an entirely new set of tools. Director Lev Kulshov first conceptualised montage theory on the basis that one frame may not be enough to convey an idea or an emotion. The audience is able to view two separate images and subconsciously give them a collective context. To prove his point, the filmmaker cut together various images, each of which changed the audience's reading: The same facial expression, applied to different situations, will be interpreted entirely differently by the audience depending on its collective context. In this way, Kulshov was applying tools more commonly associated with literature and language, forming sequences as you would a sentence rather than composing a scene as if it were a live theatrical production.
Kulshov’s theory asked questions as to how editing and composition influence a viewer’s interpretation of a sequence. He inspired filmmakers such as Sergei Eisenstein (Battleship Potemkin), who was formerly a student of Kulshov, and Dziga Vertov (The Man With a Movie Camera). Collectively, the directors utilizing montage theory were able to explore how time and space can be presented on film, exploring how audiences may respond to various montage techniques.
Although montage is generally used in less radical ways in modern cinema, Kulshov’s theory has undeniably become a common tool for filmmakers worldwide, and films such as Battleship Potemkin and The Man With a Movie Camera are still celebrated as some of the most groundbreaking films of all time.
Task:
Watch the video essays above and read the intro below. Take notes and produce evidence that you understand Soviet Montage, Experimental Documentary Film, the timeline, Editing and the techniques utilised by Vertov.
Deadline - Thursday 16th of Jan
Intro to Soviet Montage
Even the most passive moviegoer will be familiar with the concept of montage. Their exhaustive use in 1980s Hollywood action films has led to countless parodies and far more selective use of the technique from filmmakers ever since. However, there’s much more to montage theory than Rocky Balboa would have you believe, and it all started during the Soviet Union's early years.
Just like French Impressionist cinema, Soviet Montage came from the concept that film theory doesn't necessarily have to align with theatre, as the filmmaking process provides an entirely new set of tools. Director Lev Kulshov first conceptualised montage theory on the basis that one frame may not be enough to convey an idea or an emotion. The audience is able to view two separate images and subconsciously give them a collective context. To prove his point, the filmmaker cut together various images, each of which changed the audience's reading: The same facial expression, applied to different situations, will be interpreted entirely differently by the audience depending on its collective context. In this way, Kulshov was applying tools more commonly associated with literature and language, forming sequences as you would a sentence rather than composing a scene as if it were a live theatrical production.
Kulshov’s theory asked questions as to how editing and composition influence a viewer’s interpretation of a sequence. He inspired filmmakers such as Sergei Eisenstein (Battleship Potemkin), who was formerly a student of Kulshov, and Dziga Vertov (The Man With a Movie Camera). Collectively, the directors utilizing montage theory were able to explore how time and space can be presented on film, exploring how audiences may respond to various montage techniques.
Although montage is generally used in less radical ways in modern cinema, Kulshov’s theory has undeniably become a common tool for filmmakers worldwide, and films such as Battleship Potemkin and The Man With a Movie Camera are still celebrated as some of the most groundbreaking films of all time.
Monday 6 January 2020
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