Onetake
feedback on text
Enjoyed reading about the movies and how they were made.
Please be aware of hackneyed phrases.
Passivity of language (just, in general)
+ exploring the methodology of two films would be great if this could be extended into the experiments that Luca is made. More comprehensive thumbnails (show and tell method)
+like the description of the scene from Stalker- expands the discourse to compare it to theatre. Sometimes the sentences are too long.
+ Trinity of terms
Consider: 'Films' (rather than 'movies'). Change it up a bit.
- The long take; it has a history and can be; What does the long shot DO? Show your literacy. Note Steve and Gavan both made the point that
General point: personal voice could be amplified (editorial voice).
Enjoyed reading about these forms: the variety of films is interesting.
TV?
Luca: Mixture between Hollywood and independents; TV is a very crowded field, there are style changes within a season.
G: maybe TV can be brought in to provide context. Netflix has a prescribed range of cameras Luca: easier to stick to movies
G: Dogma 95, all about story telling. Setting parameters, restraints (rules) and emphasising the direction and storytelling. L: The Idiots is the only example of a film following the Dogma Manifesto. G: Maybe interesting to consider what informed the cinematographic decisions.
Achievable aims for next session: finish chapter three add on my short analysis of my own work to chapter two Emphasis will be on social realism. Authenticity and realism as separate from the documentary genre. (Ride and Nomadland?)(drive my car?) Send to Steve by 2nd Feb.
(Concept of docu-fiction worth thinking through- maybe more of a definition of practice from the perspective of the filmmaker)
recap:
steer clear of hacknied language;
edit sentences;
bring in your own work.
send draft of chapter 2 to Steve by beginning of next week; Steve gives feedback and we move on; send amended draft on 25th; review progress at next meeting (26th).
Achievable aims for next session: finish first chapter and write second [slow cinema] [short bite: three people in one space; static camera, constraints; interaction of 3 people in one place. On the other end of the spectrum to the last. describing interaction with space. Essay films Stalker. The Mirror]
Achievable aims for next session: Send draft to Steve on Sunday and he will write feedback into the document.
outline
set up- speech-riot-raid; return to base (500)
the one take in Athena and others -- (baby driver- touch of evil-1917-one shot) (500)
Luca's one-take (500)
conclusion what the one take does emotionally. (500)
How does it engender subjectivity?
being captive of the. camera's eye (captivated);
consider the aesthetic of video games (first person shooters)
the 'ride' of the fairground (on a rail)
Intro
This thesis comprises a series of case studies which examine how different filmmakers have tackled a specific cinematatographical obstacle, genre or technique. I use these case studies a starting point for my own cinematographic work for the series of works entitled ‘quick bites’(2022-23). The case studies are of: Atlanta (date, director), Drive (date, director), Inglorious Bastards(date, director), Mind Hunter (date, director)and Blade Runner (date, director)
[contents]
Case studies: Athena (2022, France, Netflix); 1917 (2019, UK, theatrical release): It Follows (2014, USA, theatrical release)
„Athena“s eleven minute single shot opening sequence captivates the viewer. It is a blueprint for a tense, character driven and charged movie.
In an interview with ‘The Upcoming’Romain Gavras stated:
“[...] we constructed the film as a Greek tragedy and the tragedy narrative elements is that it’s set in 24 hours like it feels like it’s real time almost and in order to create that real time feeling those oner’s were really key to have the feeling of being with the characters as they leave the situation in real time because the camera doesn’t cut.” [maybe translate this into prose. it is a bit garbled as it is.]