Onetake

Achievable aims for next session: send draft of chapter 2 to Steve by beginning of next week; Steve gives feedback and we move on; review progress at next meeting. 

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.]