Evidence of Editing: Hidden Figures

These notes were taken from the trailer, as seen on the youtube page  Youtube.com MovieClip

  • Beginning of trailer communicates humble beginnings
    • With the transition from adolescence (not a normal childhod) to adulthood, everything changes except for the glasses of the protagonist (signifying intelligence…)
  • Fascinating wide landscape shot/introductory scene – the blue car is off-centered, and all alone. (leaving room for the police-car that will soon appear). The other two main characters are introduced.
    • The color of the car is bright blue, stands out, is proud (setting a tone for the underlying personalities of the main characters)
  • Police car enters the shot, fills the gap on the left side of the screen in the first wide shot.
    • Signifies danger, unease. (colors of car are very contrasting)
  • Lots of wide shots detailing the products of NASA Engineering – to show scale.
    • While a small person (black woman) walks quickly next to these large, overbearing objects.
    • All alone in a sea of white men.
  • COLOR: Before the presence of the protagonists (black women) is made known, the color scheme is dull – detailed by greys, whites, browns, tans, and pale blues (not the pretty kind).
    • The arrival or presence of DIVERSITY brings with it color in the form of wardrobe choices and ways of thinking.
  • “We go from being our fathers’ daughters, to our husbands’ wives, to our babies’ mothers.”
  • Important/moving shot: Grey/brown hallway borders the frame as powerful women march through it, wearing heels and holding clipboards.

What did I like from this clip?

The clip/trailer took the audience through a range of emotions in a limited time frame, doing an excellent job of drawing the audience in, and making them want more.

What did I learn from this week’s exercises?

I improved my observation skills when looking for major or minor editing detail.

I learned how to take more efficient and effective notes.

60 Second Film: An Intense Chess Match

Logline:

Two well-established canines engage in a battle of intellectual capacity, racing against time and breaking all rules.

Product Summary

This film was dreamt-up after glancing, in succession, at a chess set, at two doilies, and a dog. It features Thea and Zeus, two intellectual canines who have found themselves facing off in an ‘epic’ chess match – one that will go down in history.

The main goal: to have fun while making the film, while also attempting to utilize the accessible editing software to create a video that engages its audience.

Filming was done primarily by Francis Sharp, with some dog-training/wrangling assistance from her friend Leila.

Only one pair of glasses were broken during filming, a feat that both Francis and Leila consider impressive.

Feedback Questions

How could film technique be improved? Which aspects of the film were the strongest?

My feedback:

Cooper: the music gave it an intense feel

Katherine: The music choice was great, it heightened the feeling of tension well. All of the aspects of your longline were present; it was funny!

Josie: The music choice was great, it heightened the feeling of tension well. All of the aspects of your longline were present; it was funny!

Film Analysis: The Handmaid’s Tale

Film Title: The Handmaid’s Tale
Year: 2017
Director: Kari SkoglandActually, it was Reed Morano, for Episode 1 & 2 of season 1 – Mr. Le Duc
Country: The United States
Genre: Dystopian/utopian fiction, tragedy.
TOPICYOUR NOTES
1. Who is the protagonist?
The protagonist is a woman named June, though after the settlement of the new religion/government mixed regime, she was known as Offred, a handmaiden charged with bearing the wives of important male figures.
2. Who is the antagonist?
The antagonist is not a single person, but rather the development of a tragic, outrageous society/environment, which has reshaped the world that June (and the United States) previously knew.
Additionally, within the first two episodes, you can find single antagonists in the commander’s wife and the commander’s driver (who June suspects to be an ‘Eye’).
3. What is the conflict?
June is forced to survive in a hostile environment under difficult circumstances, because she hopes to eventually find her stolen daughter.
Additionally, there is mounting, dangerous tension forming between June and the Commander, who has begun to initiate a strange, forbidden relationship with June. This will inevitably lead to some greater conflict.
4. What is the theme or central, unifying concept? (summarize in one or two words)
Something that is clearly highlighted in the film is how, in this scenario, the union of state and religion has gone so terribly wrong – so there may be a theme in that.

But the theme could also go something like-
Drastic change invokes drastic circumstance.
5. How is the story told (linear, with flashbacks, flash-forwards, at regular intervals)?
The story is told using a progressing storyline with flashbacks inserted here and there.
6. What “happens” in the plot (Brief description)?After a plague cuts fertility of women down to 1/5, the church somehow manages to gain control of the government, and the United States transitions into a horrifying dystopia, where few are accepted, many are killed, and the remaining fertile women are tasked with bearing children for “the Leaders of the Faithful.
7. How does the film influence particular reactions on the part of viewers (sound, editing,
characterization, camera movement, etc.)?Why does the film encourage such
reactions?
No ounce of violence, mystery, or terror is left unused in this film.
Shadows, lighting, dramatic soundtracks, disturbing close-ups and tilts, all add to the already uneasy tone of the film.
This is done to encourage the building tension of course, and to continuously develop the mood – one of unwavering creepiness.
8. Is the setting realistic or stylized?What atmosphere does the setting suggest?Do particular objects or settings serve symbolic functions?The setting is realistic, while the premise is less so. The movie takes place in a natural North America (US) and only stands out when the watcher imagines how the setting would have looked pre-film/dystopia.
9. How are the characters costumed and made-up?What does their clothing or makeup reveal about their social standing, ethnicity, nationality, gender, or age?How do
costume and makeup convey character?
The characters in accepted society all dress quite conservatively – the women in long dresses, the men in suits and work-clothes. It is easy to tell apart the classes of women however – the handmaidens dress in red robes and strange white hat/eye-covers, the Marthas (housekeepers, servants) dress in muted colors, and the wives of the Leaders of the Faithful dress in high-quality skirts, blouses, and dresses.

10. How does the lighting design shape our perception of character, space, or mood?The lighting of these two episodes does well to add to the air of dystopia. When outside, the handmaidens’ faces are cast with shadows, while their environment, in comparison, seems glowing with uneasy, bright, white/yellow light.
The lighting does effect the mood of the scene, certainly, and it is characterized by drastic change and
11. How do camera angles and camera movements shape our view of characters or spaces?What do you see cinematically?The episodes are filled with dramatic, clear, defined close-ups. They sometimes occur when June begins narrating, and other times to add various elements: suspense, fear, joy, etc. These close-ups are so clarified it’s almost unsettling.
12. What is the music’s purpose in the film?How does it direct our attention within the
image?How does it shape our interpretation of the image?What stands out about the music?
The music in the episodes is recurring and resembles a strange, slow opera song with long drawn out tones. I wouldn’t say the music specifically evoked emotion from the watchers, only that it did an okay job of complimenting the paired scenes.
13. How might industrial, social, and economic factors have influenced the film?Describe how this film influences or connects to a culture?I think that the film definitely drew upon past horrors to help create its modern dystopia – things such as homophobia, sexism, and the roles of women long ago that were seen as “traditional.”
Of course the show is fictional, but I believe the directors and screenwriters were playing on drastic fears of people today, shaping a future using the worst elements of the past.
14. Give an example of what a film critic had to say about this filmUse credible sources and cite sourcesExample: “The Shawshank Redemption Movie Review (1994) | Roger Ebert.” All
Content. N.p., n.d. Web. 24 June 2015.
The Handmaid’s tale Movie Review (2017) by Liz Shannon Miller.

“The Handmaid’s Tale is a haunting confluence of tenses. It’s also one of the best shows of the year so far, at times hard to watch but impossible to ignore.”
(Review taken from https://www.rottentomatoes.com/tv/the_handmaid_s_tale/s01)
15. Select one scene no longer than 5 minutes that represents well the whole film and shows relevant cinematic elements.Write a one-sentence description of the scene and record the time of the scene. Example, from 1:05:00 to 1:10:00.Explain why you chose this scene.Episode 1: From minute 47, second 25, to minute 51, second 10:
This clip best represents the theme, or tone of the episodes/ the show.
A variety of close-ups and normal shots depict the handmaidens brutally beating up a criminal charged with rape. June joins in, and appears to lose herself in the violence. Afterwards, she wakes up from her strange trance and realizes, with disturbance, that she is becoming a part of the system. Towards the end of the clip, June’s companion Ofglen reveals that she is not so pious as June had thought and June admits that she had previously felt distrust towards Ofglen. Then the statement is made by Ofglen: “They do that really well. Make us distrust each other.”
16. In the selected scene: write a sentence for each of the elements below to justify why this scene best represents the film:
a. Screenwriting:This clip – following the storytelling design – contains a flashback – removing the audience from the present, and taking us back to pre-dystopia, where things were better but worsening.
b. Sound Design:The sound design in this clip best represents the show because of its recurrence throughout the episodes. In the beginning of the clip, we hear a high pitched frequency (initiated by the sharp blowing of a whistle) ringing in the air as June realizes what a terrible thing she’s succumbed to. While the sound of the frequency exists, all other noise fades, until we are brought back to every sound and voice and character – a concept/strategy used constantly throughout the episodes (removing all but one element of the film, and allowing for a disturbing simplicity, and then bringing everything back).
c. Camera Movements/Angles:I discussed closeups and their commonality previously, and this clip does well to demonstrate the magnitude with which close-ups are used. More than half of the clip is filmed using some form of close-up.
d. Light Setup:In the lighting you see a stark comparison between the present and the flashback. The present, though characterized by its disturbing happenings, is mostly bright – not pale, more contrastingly white – while the flashback is riddled with shadows, physically adding a foreshadowing element while the actors’ words do so as well.
e. Soundtrack/Score:Like the rest of the film, in this clip a soundtrack/score is not constantly present – only briefly in the beginning do you hear a distinct sound (the frequency/whistle), and other than background noises, the clip/film are not deeply influenced by their musical score.
17. What’s the socio-cultural context of this film?I would say that Religion is the prime socio-cultural element in this film/show. A Handmaid’s Tale details everything that was and is wrong with our world’s religion (primarily Christianity of course), and outlines the ways in which religion does effect, and has the potential to effect countless lives.

This worksheet was developed with ideas from many IB Film teachers, thus should remain in the Creative Commons

Film – Week 14 – Intro to Analysis

“Judy Garland, Hedy Lamarr and Lana Turner” by classic film scans is licensed under CC BY 2.0

“Analysis gave me great freedom of emotions and fantastic confidence. I felt I had served my time as a puppet.”

Hedy Lamarr – Read about 1930s actress Hedy Lamarr-inventor of cellphones, Wi-Fi and GPS

SUMMARY

  • I finished my analysis (It certainly took longer than 30 minutes, but I anticipated that), and overall, this week was a week of enjoyable learning.

CLASSROOM (THEORY & ANALYSIS)

  • Film chosen: I first decided on The King, but then watched The Sound of Music (for the first time, and without any initial intention to use it for my analysis) and enjoyed it so much that I decided to replace The King with it for the analysis blog post.

OUTSIDE (CREATIVITY, PRODUCTIVITY & THE BRAIN)

Image from bananatreelog.com
  • During my walk, I was able to think about another new piece of my de-stress/gtd system. This piece is slightly less oriented around actually getting things done, but it does focus on visualising and looking forward.
  • I’ve begun to create weekly goals that I decide on Sunday night before I go to sleep. For example: my goal this week is to find and maintain balance – mainly between my fitness/training, my schoolwork, and my mental health/self-care. The third is something I am always wanting more of, and is something that I hopefully find more time for (yet another reason for me to strive to have a successful GTD system – use my time effectively and efficiently so that I have an excess amount of time to direct towards my self/mental health.
  • I’m excited for this week’s goal, and I hope to always be excited about every goal that I set.
  • I love reading little pages like the one above, because they remind me that there are so many sources out there that are dedicated towards bettering people’s mental health. While this also makes me aware of how much potential there is for variation among those sources, they are still resources that I am grateful for.

THEATER

  • Film finally chosen: The Sound of Music

WHAT I LEARNED and PROBLEMS I SOLVED

  • I solved the problem of choosing a film – when given loosley guided choices such as this film choice, I usually struggle with my indecision. However, I luckily sat down to watch The Sound of Music (after thinking I already had my movie – The King) with my mother and decided I enjoyed it far more and that it would be a better film overall to analyze.
  • I also turned my blog post in on time muahaha and…. I believe that’s it for now.

Film Analysis: The Sound of Music

if The Sound of Music was shot in Colorado ...
“if The Sound of Music was shot in Colorado …” by woodleywonderworks is licensed under CC BY 2.0
Film Title: The Sound of Music
Year: 1965
Director: Robert Wise
Country: Austria (some scenes shot in California)
Genre: Musical, romance, children’s film, drama
TOPICYOUR NOTES
1. Who is the protagonist?
The protagonist is Maria Von Trapp.
2. Who is the antagonist?
The antagonist is widely accepted to be Hans Zeller.
3. What is the conflict?
There are multiple conflicts; An inner conflict between Maria and herself /personality, a conflict between Maria and the Von Trapp children/their father, and the constant, underlying conflict provided by the happenings of the war (WWII).
4. What is the theme or central, unifying concept? (summarize in one or two words)
Music is the largest role-player in this film, and helps to outline the theme as; where there is music, there is hope, or perhaps the more general theme of close-knit family.
5. How is the story told (linear, with flashbacks, flash-forwards, at regular intervals)?
The story is certainly linear.
6. What “happens” in the plot (Brief description)?The story begins with the protagonist Maria living among the nuns at the Abbey, in a small(ish) town in Austria. After a unanimous agreement that maria was perhaps too troublesome for the abbey, she is sent to be a governess for a historically difficult group of children, and is tasked by their father (Captain/Georg Von Trapp) to maintain discipline. With Maria’s unusual personality, and her inclination towards song-singing, she quickly overcomes both the children and the father’s difficulties, and unites a family that was previously quite disconnected. However, Georg’s fiance eventually drives Maria away, after it is realized by both of them that a love exists between Georg and Maria, but Maria eventually returns after some encouragement from her Reverend sister. Soon the engagement between Georg and his fiance is dissolved, and he and Maria are free to marry, with the eagerly-given consent of the children.
The end of the movie is shadow-cast by World War II, and the two heads of the family have to work hard to keep the children un-worried about the looming threat of Germany, even as Austria is clearly overtaken. Because Georg has always blatantly refused to acknowledge Hitler’s power and presence, he is carefully watched by the Nazis, and is soon called to act once again as a naval captain – but this time for the German navy. After refusing, he and his family are forced to escape the country by means of foot, and the movie ends with a scene depicting the nine family members traversing amongst Austria’s gorgeous, wind-filled, rocky hills/mountains .
7. How does the film influence particular reactions on the part of viewers (sound, editing,
characterization, camera movement, etc.)?Why does the film encourage such
reactions?
Quite a long, film, The Sound of Music is filled with various sound, camera, and characterization techniques that encourage audience reactions.
Music cannot be ignored throughout this film, and each song perfectly reflects the possible themes that could be represented by the surrounding setting (see next question response). Accompanying the music, the choreography in this film is lovely and lively.
No ‘expense’ was spared when it comes to film quality and unique scenes, with varying settings that are all unified by their common beauty.
The film does an excellent job of not only evoking joy, but also worry and outrage in certain scenes – there was a perfect, much needed balance between the two tones. I found myself often having to consciously relax my face after realizing that I had scrunched my eyebrows together out of worry or frustration upon witnessing various parts of the film.
8. Is the setting realistic or stylized?What atmosphere does the setting suggest?Do particular objects or settings serve symbolic functions?The setting is certainly realistic (and beautiful), and although the Von Trapp house is far grander than the average Austrian house, it is made clear that the house/mansion is more of an anomaly than not.
The suggested atmosphere that is prompted by the setting would be one of whimsy,
9. How are the characters costumed and made-up?What does their clothing or makeup reveal about their social standing, ethnicity, nationality, gender, or age?How do
costume and makeup convey character?
My family and I adored the wardrobe of Maria before she was introduced to the grandeur of the Von Trapp household, with her “ugly” dress (we found it charmingly simple), her hat, and of course her modest, cropped hair.

The matching outfits sewed for the children by Maria (made out of her curtains) were also highly enjoyable – not only were they quite absurd and gorgeous “play-clothes,” but they helped reinforce the intense connection between the siblings.

Unfortunately, there was little to no ethnic diversity throughout the film, which did take away from the complete perfection of the film. I am unsure if it was a decision made concerning the time period or the setting, but regardless I would’ve enjoyed seeing more diversity.
10. How does the lighting design shape our perception of character, space, or mood?The lighting is drastically altered depending on the intended mood or tone of the given scene – typically with darker lighting cast for more mysterious, suspenseful scenes, and with brighter lighting for cheery, humorous scenes.
The light usually is balanced between the subjects and the setting of each scene – because each setting is so marvelous that even the interesting happenings of the characters are somewhat paled in comparison.
Shadows also play an important role in the film. My favorite example of their effect is at hour 1, minute 2, second 2, where Maria and the children skip through a beautiful tunnel of lattice and vines. The cross-hatched shadows play on the characters’ forms and add to the already spectacular tone of the scene.
11. How do camera angles and camera movements shape our view of characters or spaces?What do you see cinematically?The film is filled with slow pans and a healthy mix between regular shots and close-ups – with the close-ups reserved for scenes where a character is being introduced (example – hour 1, minute 3), or scenes that are intense.
The cuts in the film often match up with the music, with the scenes changing at a deliberate pause in a song, which unconsciously makes the audience feel connected and certain.
12. What is the music’s purpose in the film?How does it direct our attention within the
image?How does it shape our interpretation of the image?What stands out about the music?
Music is the sole most important aspect of this film. It is deeply invested in both the magic of the film, but also the plot – as music is the reason (other than Maria) for Georg’s resubmission into happy family life.
In The Sound of Music, the music is almost solely founded on happy-thoughts (this due of course to the cheery nature of Maria), and helps balance out the underlying factor that is less noticeable but not forgotten – the war.
You’ll see musical themes that are conjured earlier in the film brought forth once again as the war becomes more prevalent, and as music becomes a larger necessity for maintaining high and hopeful spirits.
13. How might industrial, social, and economic factors have influenced the film?Describe how this film influences or connects to a culture?I found it interesting that the german forces were so mercifully portrayed – I had expected a harsher representation of them. However, because this film is largely directed towards a younger audience, I believe the war was toned down at least slightly, so as not to disturb the majority of the film’s audience.
The Sound of Music is so wonderful because if emphasizes an element of magic and happiness and hope, all while such a terrible war is going on. It makes it clear – that even while turmoil is present, there is goodness to look for.
It is quite a hopeful film.
14. Give an example of what a film critic had to say about this filmUse credible sources and cite sourcesExample: “The Shawshank Redemption Movie Review (1994) | Roger Ebert.” All
Content. N.p., n.d. Web. 24 June 2015.
“The magic and charm of Rodgers-Hammerstein-Lindsay-Crouse 1959 stage hit are sharply blended in this filmic translation which emerges one of the top musicals to reach the screen. The Robert Wise production is a warmly pulsating, captivating drama set to the most imaginative use of the lilting R-H tunes, magnificently mounted and with a brilliant cast headed by Julie Andrews and Christopher Plummer which must strike a respondent chord at the boxof[f]ice. Slated for roadshowing, the Todd-AO film cloaked in the superb tints of DeLuxe Color bears the mark of assured lengthy runs and should be one of the season’s most successful entries, particularly with Miss Andrews-fresh from [h]er “Mary Poppins” triumph – to further spark attention.”
Movie review by Whitney Williams.
Movie Review taken from Variety Film Reviews
Review made on Mar 2, 1965 11:00pm PT
15. Select one scene no longer than 5 minutes that represents well the whole film and shows relevant cinematic elements.Write a one-sentence description of the scene and record the time of the scene. Example, from 1:05:00 to 1:10:00.Explain why you chose this scene.From hour 1, minute 11, to
hour 1, minute 16.
“The contagious spirit of Maria breaks down all previous barriers and peace and joy is restored.”
I chose this scene because it shows the main character’s personality so well – she is eager and joyful, but also firm and angered easily when her decent perspective is not shared.
You see the result of Maria’s efforts, and music is importantly used in this scene.
16. In the selected scene: write a sentence for each of the elements below to justify why this scene best represents the film:
a. Screenwriting:Well written, with passion from Maria and a long-awaited character change (Georg).
b. Sound Design:Gentle and magical, well placed.
c. Camera Movements/Angles:Simple frames and cuts, all straightforward, with a mix between close-ups and regular shots.
d. Light Setup:Simple, softer at certain moments.
e. Soundtrack/Score:Typical, matches with the continuous tone/mood of the film.
17. What’s the socio-cultural context of this film?The film is set during WWII, but was of course made afterwards. It is based on a very real story, and the more popular, American version was made following a German version.
Austrian culture and society is brought up multiple times in the film as well, and the Von Trapp family’s singing helps to uphold that culture, even throughout the war.

This worksheet was developed with ideas from many IB Film teachers, thus should remain in the Creative Commons

Film – Week 13 – Changes

film
“film” by popturfdotcom is licensed under CC BY 2.0

“The most honest form of filmmaking is to make a film for yourself.”

― Peter Jackson,  Link

SUMMARY

  • Followed instructions of course, but realized my recent mistake that I have made in the past two weeks that has forced me to turn in my assignments on Sunday instead of my determined Saturday (luckily from now on the mistake will not be made again!).

PRACTICE ROOM (TUTORIALS)

Screenshot from sneakonthelot.com
Screenshot from sneakonthelot.com
  • Production Complete

CLASSROOM (THEORY & ANALYSIS)

Screenshot from The Story of Film Trailer on NetworkReleasing YouTube channel

OUTSIDE (CREATIVITY, PRODUCTIVITY & THE BRAIN)

Worksheet from bananatreelog.com
  • I recall a moment that occured not long ago – I believe it was a week, maybe a week and a half ago. I was laying in bed, but though I tried, I could not fall asleep. And the reason became apparent, but it seemed outrageous at the time. I realized I couldn’t fall asleep because my mind was so empty and free of thought. I had used my GTD system so well, that I couldn’t fall asleep in the way that I was accustomed to – which was to think of the things swirling around in my brain until I was sleeping. Unfortunately this moment has not repeated itself.
  • I am grateful for that night, and would like it to recur until I am used to it and am comfortable with my mind having a sense of emptiness. This sense brings with it calm and relaxation, and would be greatly welcome right now.
  • As for reflecting on this recent strategy (for reframing negative thoughts), I look forward to using it in the future, and am hopeful that it will aid me in my quest for complete stress alleviation. Sometimes things that appear complex and stressful are simply waiting to be broken down.
  • I live a relatively fast-paced life, and I’ve become accustomed to it. Sometimes I feel that I almost enjoy being in a rush; but when I sit (or walk) and think about it, I know that this is not the case. I am an athlete, and when I’m moving quickly, I feel that I am making progress. While this might be true for some aspects of my sport, after reflecting, I can acknowledge that I need to draw a firmer line between this sport association and my school/work life.
  • I then need to find unfailing ways of maintaining this line, this border. I would like to try to embrace moments of growth in which I might be sitting still, and in which the only movement that may be occurring is inside my mind. This has always been a struggle for me – I am a moving, changing person, and I feel as if I am losing my ability to relax. No more!
  • My sister made a comment recently that has stuck with me. She was expressing her frustration (perhaps directed at my constant rushing and apparent time shortage) and noted that “we all” (the family) should try to do things that have no purpose. I interpreted her words as this: we should do things that have pure intentions, or very little intention at all – this will then help dissolve some of the stress that is placed around all of the things that do have clear intentions. I agree, and I realize that I miss lounging around and relaxing – things that I rarely do anymore. This week (the week of December 7th) I am going to try to consciously/unconsciously (I don’t know which one is better for the time being) relax. I am very excited by this goal. I would love to relax.
  • I think in the end, GTD systems are made to allow more time for relaxing, and so, after a good deal of reflection, I have come to the conclusion that my GTD system will not only be utilized with the intention of getting things done, but also with the intention of creating time wherein nothing needs to be done. Time for nothing.

WHAT I LEARNED and PROBLEMS I SOLVED

  • I realized that I wasn’t spending enough time working on Film assignments on Mondays, and decided that I would complete 2 pomodoro timers worth of film work every Monday. My schedule is increasingly complex, but I’m determined to master it, and to utilize each of my GTD systems to the best of my ability.

WEEKLY ACTIVITY EVALUATION

  • Give feedback on this week’s class Content and Process
  • DELETE THIS WHOLE SECTION, AFTER YOU ARE DONE

Story of Film – Episode 2 – The Hollywood Dream

Mirror Lens Fake
“Mirror Lens Fake” by Thomas Sommer is licensed under CC BY-NC-ND 2.0

Notes

The following material (save for my notes) is from Wikipedia:

Episode 2 – The Hollywood Dream

1918-1928: The Triumph of American Film…

Before utilized films:

The film episode is first characterized by slightly mysterious, climactic music, and by the red ornament that is to represent the new, shiny, Hollywood film industry.

…And the First of its Rebels

  • Nanook of the North (1922) dir. Robert Flaherty
    • The longest non-fiction so far in the stpry of film
    • “Beautiful but conventional.”
    • Focuses on a real man, his family, his psychology, and his mythic struggle.
    • Acting would of course be more effortless, if it was not staged – however, many of the scenes were staged.
    • Real, new, cheerful tone.
  • The House Is Black (1963) dir. Forough Farrokhzad
    • “Beautiful tracking shots.”
    • Tells the story of people with leprocy…
  • Sans Soleil (1983) dir. Chris Marker
    • Imaginary, made up elements/words…
  • The Not Dead (2007) dir. Brian Hill
    • Slurred speaking, difficult to understand
    • Turned his words into poetry, then used film to provide images for the poetry
  • The Perfect Human (1967) (shown as part of The Five Obstructions) dir. Jørgen Leth
  • The Five Obstructions (2003) dir. Lars von Trier and Jørgen Leth
    • Strange, robotic almost
    • Distinct blacks and whites
  • Blind Husbands (1919) dir. Erich von Stroheim
    • Main character almost headless in the first scene because of the strange lighting
  • The Lost Squadron (1932) dir. George Archainbaud and Paul Sloane
    • Obsessive teachings of small details
  • Greed (1924) dir. Erich von Stroheim
    • Difficult to follow
    • Tragic premise
    • The color of yellow, the color of greed
    • shows Stroheim’s contempt for hollywood romance.
  • Stroheim in Vienna (1948)
    • Clear
  • Queen Kelly (1929) (shown as part of Sunset Boulevard) dir. Erich von Stroheim
    • Lovely filming
    • Crafted elements (film shadows, flames)
  • The Crowd (1928) dir. King Vidor
    • Realism instead of romance, once again
    • Tragedy, heartbreak
    • Shows “just her growing despair.”
    • “The first movie to use New York extensively.”
    • Magnificent overhead crane shot among other identical desks.
    • Shows mass society emerging and focuses on the everyman.
  • The Apartment (1960) dir. Billy Wilder
    • Clever dissolve to focus on main character
    • Multiple identical subjects creates deliberacy somehow
  • The Trial (1962) dir. Orson Welles
  • Aelita: Queen of Mars (1924) dir. Yakov Protazanov
    • Fascinating geometric angles and shapes
    • Modern? costumes
    • Somewhat intriguing plot
    • mysterious
  • Posle Smerti (1915) dir. Yevgeni Bauer
    • Relaxing tone and tint
    • Darkened lighting
    • Usage of opened door to create lighting slit
    • Overall, fascinating lighting
    • “Bravely natural.”
    • Entrance from behind into the shot, allows for the audience to hold their breath slightly, wait for the character to notice
    • Beam of intense light (following her death).
    • Various tints.
  • The Passion of Joan of Arc (1928) dir. Carl Theodor Dreyer
    • Tragic
    • Wrinkles and tears distinguished
    • Almost all close-up
    • Filming done in silence
    • “Even some of the electricians cried”
    • “No depth, nothing in the background, no set, no shadows.”
    • Pink painted walls to remove glare.
  • Ordet (1955) dir. Carl Theodor Dreyer
    • So static
    • Simplified form of the kitchen created clarity/purification.
  • The President (1919) dir. Carl Theodor Dreyer
    • Strange lighting
    • Haloed heads
  • Vampyr (1932) dir. Carl Theodor Dreyer
    • Disconnected shadows against a white wall, which have a life of their own.
    • Suffocation with white flour.
    • “Blank.” – a care for whiteness (Dreyer’s care)
  • Gertrud (1964) dir. Carl Theodor Dreyer
    • White
    • Darkness in select subjects
    • Filmed through a white scrim?
    • Dreamy poetry
  • Dogville (2003) dir. Lars von Trier
    • “The opposite of Hollywood romantic cinema.”
    • Jerky, moving, different
  • Vivre sa vie (1962) (introduced in Episode 1) dir. Jean-Luc Godard
    • Slight but bold rectangular shapes

Story of Film – Episode 1 – Birth of The Cinema

Canonet with gordy's camera strap
“Canonet with gordy’s camera strap” by FXTC is licensed under CC BY-NC-SA 2.0

Notes

The following material is from Wikipedia.

Episode 1 – Birth of the Cinema

Introduction

  • Saving Private Ryan (1998) dir. Steven Spielberg
    • Sound (effects) cut in and out with the movement of the first primary camera,
    • These sound effects are unique and varying – there are many.
    • The color scheme is strictly dull; blues, grays, browns, greens, a few whites.
  • Three Colors: Blue (1993) dir. Krzysztof Kieślowski
    • Whistling flute in background
    • The woman “feeling the warmth on her face” – is perhaps thought to be dreaming.
    • White bursts of light as transitions.
  • Casablanca (1942) dir. Michael Curtiz
    • Black and white
    • Eyes of the characters are drawn out
    • The first “vibe” drawn out by the piano-man is cut off.
    • Romantics are emphasized.
  • The Record of a Tenement Gentleman (1947) dir. Yasujirō Ozu
    • Black and white
    • “The real classical movies.”
    • Many still images, some movement , but very little.
    • Camera shots filled with squares/rectangular images.
    • “Emotionally restrained.”
    • The first focus is places on inanimate objects, then shifted to the humans who seem secondary.
  • Odd Man Out (1947) dir. Carol Reed
    • Black and white.
    • Bubbles into ideas. This movie Odd Man Out will be the source of bubble-action seen in later movies.
  • Two or Three Things I Know About Her (1967) dir. Jean-Luc Godard
    • Focus on moving bubbles.
  • Taxi Driver (1976) dir. Martin Scorsese
    • Muted, fizzy bubbles.
    • Bubbles portrayed here as part of the infinite cosmos – are bubbles offering solace and ideas here?
  • The French Connection (1971) dir. William Friedkin
  • Incredibly quick filming in the first shot.
  • Lots of action, of first-hand excitement and stress.
  • The setting: Daakar, Senegal – as exciting as “Los Angeles in the 70’s.”

1895-1918: The World Discovers a New Art Form or Birth of the Cinema

1903-1918: The Thrill Becomes Story or The Hollywood Dream

  • Life of an American Fireman (1903) dir. Edwin S. Porter
    • Music is lovely
    • Shaky pan/filming, impressive storyline for that time.
    • Sets precedence for Cuts (editing equivalent of the literary word “then”).
  • Sherlock Jr. (1924) dir. Buster Keaton
    • Fascinating storyline, fascinating cuts
    • Would’ve been astronomically magical back then – I imagine.
  • The Horse that Bolted (1907) dir. Charles Pathé
    • Again, cuts used with the purpose of providing multiple stories.
    • “Parallel editing.” – to mean “meanwhile.”
  • The Assassination of the Duke of Guise (a.k.a. The Assassination of the Duc de Guise) (1908) dir. Charles le Bargy and André Calmettes
    • So much drastic movement
    • Fast-paces
  • Vivre sa vie (1962) dir. Jean-Luc Godard
    • Lovely clarity
    • More curiosity than absence of.
  • Those Awful Hats (1909) dir. D. W. Griffith
    • Trembling set
  • The Mended Lute (1909) dir. D. W. Griffith
    • Bright whites
    • Tone of anxiety
  • The Abyss (1910) dir. Urban Gad
    • “Less Censorship.”
  • Stage Struck (1925) dir. Allan Dwan
    • Luxury, outrage, “sublime”
  • The Mysterious X (1914) dir. Benjamin Christensen
    • Blaring white light
    • Strange drawings of a dream – “Daring debut”
  • Häxan (1922) dir. Benjamin Christensen
    • Terrifying
    • Color scheme induces further terror
  • Ingeborg Holm (1913) dir. Victor Sjöström
    • Tone quickly changes: from “naturalism” to worry
  • The Phantom Carriage (1921) dir. Victor Sjöström
    • Interesting blue light/tone
    • Fascinating shadows
    • Effects used well
  • Shanghai Express (1932) dir. Josef von Sternberg
    • Intriguing shadowing, lots of crossing/lattices
  • The Story of the Kelly Gang (1906) dir. Charles Tait
    • Horses and riders facing camera, though looking distracted with one another
  • The Squaw Man (1914) dir. Oscar Apfel and Cecil B. DeMille
    • Lovely setting, lovely wardrobe
    • Eyes matching across the cut creates connection between the two involved characters.
    • In a later part, the “rule” with the 180 degree line was broken and created a disconnected section of film.
  • The Empire Strikes Back (1980) dir. Irvin Kershner
    • Shiny-ness is striking (of Vader’s helmet)
  • Falling Leaves (1912) dir. Alice Guy-Blaché
    • One of the first arced stories (directed by a woman)
    • tragic underlying meaning/story
    • Innocent character/child
  • Suspense (1913) dir. Phillips Smalley and Lois Weber
    • Amazing patterns in background
    • Sideways point of view shot “remarkable”
    • Interesting triangle split screen
    • Suspense created could’ve been heightened with a more realistic approach, but is still well brought forward.
    • Of course the intruder is a brown man omg.
  • The Wind (1928) dir. Victor Sjöström
    • Different, terrifying
    • Expressive, pointed storyline
  • Rescued from an Eagle’s Nest (1908) dir. J. Searle Dawley
    • Lovely painted skyline – gorgeous clouds; overall a magical setting
  • The House with Closed Shutters (1910) dir. D. W. Griffith
    • As Cousins says, “Stagey.”
    • Interesting acting
  • Way Down East (1920) dir. D. W. Griffith
    • Pretty, soft close-up: “delicacy.”
    • “Roland Barthes, said that some images have unplanned, natural details in them, that move us. Bart called this -Punctum. The thing that pricks our feelings.”
    • Dramatic drifting ice scene.
  • Orphans of the Storm (1921) dir. D. W. Griffith
    • “Visual softness and backlighting” – gave a halo to the actors’ hair, helped objects to stand out.
    • Browns, and whites
  • The Birth of a Nation (1915) dir. D. W. Griffith
    • Dramatic, almost rushed.
    • Smoke smoke smoke.
    • Pretty setting, though filmed near LA
    • I didn’t even notice the man’s mother that he was embracing – she completely dissolved into him.
    • The racism proved dangerous as represented in film.
  • Rebirth of a Nation (2007) dir. DJ Spooky
    • “Played with the toxic scenes of Birth of a Nation – almost as if he was scribbling on them.”
    • Strange shapes/geometry on screen
  • Cabiria (1914) dir. Giovanni Pastrone
    • Spooky (director of previous movie) was stunned, particularly by the moving Dolly shots.
    • “Using elephants to express scale.”
  • Intolerance (1916) dir. D. W. Griffith
    • So many moving characters/aspects
    • Brown and blue hues – “violent scenes tinted blue.”
    • Intercuts: “He [Griffith] took storyline so far, then jumped to storyline B, advanced [it], then went back again to A, and picked up where he’d left off.”
    • These cuts between time periods was not saying “then”, or “meanwhile.” It was saying; “look, these very different events from different eras all show the same human trait; Intolerance, or the failure of love.”
    • These cuts place a deeper meaning on the sequence of the cuts.
    • The film was filmed with a dolly on a crane for some shots, even with a balloon to get high enough – up into the wind. Impressive, for film had only been 20 years old.
  • Souls on the Road (a.k.a. Rojo No Reikan) (1921) dir. Minoru Murata
    • Two storylines uniting – parallel editing
    • “The first great Japanese film.”

Film – Week 11 – Updating Workflow – Mind Like Water

“‘Be shapeless and formless.. like water’ (Bruce Lee)” by Akinini.com is licensed under CC BY-NC-ND 2.0

“Have a mind like water.”

― David Allen,  GTD

SUMMARY

  • I enjoyed watching the first episode of “The Story of Film,” and am excited to watch the rest of it. Additionally, I loved the way that Sneakonthelot formatted their Film Production lesson; it was engaging and helped me understand the task at hand.

PRACTICE ROOM (TUTORIALS)

Screenshot from sneakonthelot.com
Screenshot from sneakonthelot.com
  • Overview complete
  • Development almost complete
  • Pre-production complete

CLASSROOM (THEORY & ANALYSIS)

Screenshot from The Story of Film Trailer on NetworkReleasing YouTube channel
  • Blog can be found here: https://francisblogs.edublogs.org/wp-admin/post.php?post=45&action=edit

OUTSIDE (PRODUCTIVITY & THE BRAIN)

Image from bananatreelog.com
  • I structure my school day mornings relatively well; I wake up, eat breakfast, read, (honestly, spend too much time on screens in the morning), get my morning exercise in (3m run or walk), and prepare for school.
  • However, there could be improvement in the actual structural system that I have for my actual school/class time. I have been finding it increasingly difficult to stay 100% engaged during class, and though I don’t like having zoom for an hour and a half, I’ve noticed (in my English class mostly), that it can be helpful for the zoom to remain open but not attention-needing. This way I am held more accountable for my class time and am less likely to cease working. However, as long as I know my teacher is available for question answering via email, I can mostly remain on track.
  • I also enjoyed a quote that was from you during our Thursday zoom – which I believe – as I keep it easily viewable in front of my desk – will help me stay motivated during the allotted class time even if I am not in a zoom class. It was something along the lines of: “People of quality submit their attentions and efforts – 100% – to whatever activity they are engaging in.” (I believe you were paying a compliment to M. Cousins) Because I would like to be a person of quality, I am going to direct my efforts towards doing exactly this.
  • Side not: Coincidentally, my soccer team has recently gone over intention and how each action should be deliberate if we want to succeed and improve – Intention has become one of our centralized core values – interesting how that connects with my schoolwork.
  • Thank you Mr. Le Duc, for your words of wisdom 🙂
  • I would like to point out that my timer just went off, and this is one of the first times that I have finished all the intended work exactly on time – yay!

WHAT I LEARNED and PROBLEMS I SOLVED

  • What I learned:
  • I learned I should prioritize the sneakonthelot work first, because there can be hidden snags and obstructions that can prevent my progress that I need to be aware of further ahead of time. This week I worked on “The Story of Film.” notes first, but should’ve started with sneakonthelot.
  • Problems I solved:
  • One main problem I have at least begun to solve is that of my distracting phone. I have had my sister create a screen-time password that only she knows and can use, and I have set a total time limit for my most distracting apps of 25 minutes per day. I also have a “down time” set; I cannot use my phone until 8:30 am (I am going to have to change this to 8:00 because I run at 8:00 nearly every morning and use music), and cannot use it past 7:00 pm at night.
  • This has already helped my productivity monumentally.

Film – Week 10 – GTD – Getting Things Done – Part 2

Image from BiggerPlate.com

Teens are overwhelmed, partly because they don’t yet have the skills to manage the unprecedented amount of stuff that enters their brains each day.  – from LifeHacker.com

“Your mind is for having ideas, not holding them.”

“You can do anything, but not everything.”

― David Allen, (GTD) Getting Things Done for Teens: Take Control of Your Life in a Distracting World

SUMMARY

  • I effectively completed the blog post, and am now leaving with excitement directed towards the future creation of my new GTD system.

PRACTICE ROOM (TUTORIALS)

Screenshot from Sneakonthelot.com
Screenshot from Sneakonthelot.com
  • Both of these are finished 🙂

CLASSROOM (THEORY & ANALYSIS)

Screenshot from Animated Book Summary And Review at YouTube

You are going to learn to develop your own version of David Allen’s Getting Things Done (GTD) process in this ‘room.’

  • The first few minutes of the GTD Ted Talk by David Allen weren’t too compelling, but after about halfway through the video I began to fully process and understand many of the points Allen was making. The combination of the other resources has led me to an exciting conclusion, and a new way I am going to begin organizing my ideas, actions, etc. (I’m assuming this was exactly the point, the culmination of all the GTD work we’ve been doing, so YAY). Essentially I’m going to construct a physical Trello board, but one adjusted for my brain. I’m going to have paper ‘pockets’ mounted on the wall, each labelled to fit their description; Inbox, Next actions, Quick actions, Projects, Timed agenda, and Completed. Hopefully this will allow my brain to get out all of the excess information and focus on only producing ideas, not continually harboring them. I’m excited!
  • Note: I loved when Allen talked about time, and how when people say their issue is that they “don’t have enough time”, they are in a way lying to themselves – for even if they did have time, without an effective GTD system in place, an entire extra 2 hours could be easily wasted, whereas 2 minutes spent with an effective GTD system in place could quickly alleviate stress and yield results. I found it funny that myself and so many others act as if time is the true criminal (perhaps for a few it may be), when in reality the criminal is ourselves and our silly unwillingness to prioritize systems over stress.

LAB (THEORY PRACTICED)

Screenshot of David Allen TED Talk
Screenshot of David Allen TED Talk
Screenshot from Animated Book Summary And Review at YouTube

Two GTD Maps: Basic and Detailed

  1. Detailed map by guccio@文房具社 icensed under CC BY-NC 2.0
  2. Basic map from BiggerPlate.com embedded below

GTD-based Trusted System

Image from Trello.com
  • The examined and chosen method of GTD of mine is paper and pencil. I’ve always been a kinesthetic learner, and I believe that capturing my ideas in a way that doesn’t involve a screen will benefit my mind best.

OUTSIDE (PRODUCTIVITY & THE BRAIN)

OPTIONAL EXERCISE

Image from GoodReads.com
Image from GoodReads.com
  • I walk a lot, and I realize I have been terribly missing out by not bringing a (small) notebook and a pencil with me on my walks. When I think about it, I realize that there are many times during my walks where I will have the same thought more than once – something that Allen explicitly advised his listeners to avoid. So from now on, I will ditch my phone and bring only paper and a writing utensil.
  • Getting Things Done for Teens: Take Control of Your Life in a Distracting World by David Allen

STUDIO (CREATING MAPS)

  • The GTD steps written (for my own reminder and referral):

  • Decide the ACTIONS and OUTCOMES embedded in them
    1. Get yourself a MAP OF ALL THAT so you can step back and take a look at it.
    2. And then, basically, you USE THE MAP TO DECIDE, “OK, here’s the course that we’re going to go on.”
    3. You then LAUNCH the ‘ship’ on a trusted course in the short term, as well as on the long horizon that you’re moving on.
    4. And then, on a regular basis, you need to REASSESS, “OK, we need to take in NEW DATA, CLEANUP, RECALIBRATE, and REFOCUS for the next leg of the journey.”
  • ‘Capture’ all the ACTION ITEMS you can in your GTD Trusted System

WHAT I LEARNED and PROBLEMS I SOLVED

  • I have successfully determined a new GTD system of mine that I will be implementing shortly after finishing and updating this blog post. I am extremely excited because I love making paper organization boxes/pockets. I still have yet to learn why that excites me so.
  • I successfully finished this blog – I think Saturdays will be my determined Blog Post days from now on. I will have my posts done by Saturday night – and I haven’t made this decision to deliberately undermine (by one day) Mr. Le Duc’s goal due date, but I have made it to help myself organize my time (upon writing the word time I just remembered something I wanted to note in the Classroom ‘room’) and to better divide my mind between classes. As I understand the learning is happening either way (most likely it will be happening even more effectively and efficiently if it is taking place on a Saturday rather than a Friday, for I will feel less rushed and more focused and relaxed), I believe no one will be harmed by this one-day extension. And of course if there is an important goal that MUST be met on Friday, then I will make sure to prioritize whatever that may be.