Material de clases para la clase de dirección audiovisual. Versión en inglés.

1. Directing

2. European film vanguards: the director as
author
2.1. Auteur cinema theory: concepts
2.2. German expressionism and French surrealism
2.3. Italian Neorealism and Japanese Cinema of the 1930s
2.4. Nouvelle Vague and the New German cinema
Unit2

3. The role of the director
1.1. Directing: basic concepts

4. Director´s role
1. CREATIVE VISION
2. MANAGERIAL RESPONSIBILITIES

5. Director´s role
2.- Directing everyone else
The director must have a deep understanding of everyone
involved in the film, in all the stages.
• Preproduction
• Filming
• Postproduction
• Distributing
• Promoting

6. Director´s role
2.- Directing / working with
Location department. Scouting film locations.
Location manager. Basecamp. Storage. Trailers.
Location assistants. Moving from one location to other.
Follow the location manager plan and schedule.

7. Director´s role
3.- Directing / working with
Art department.
Production designer. Create the world of the film. Before
shooting.
Art director. Organizes the art that will be visible on set.
Also the graphic design in the world of the film, such as
brands, products, services.

8. Director´s role
4.- “Directing” dialogue
Drama is understood through the actions of your characters.
These actions must be conveyed to an audience for them to fully
appreciate, as well as understand, the story.
Dialogue is action! Therefore, it must be directed.
Source:Proferes,Nicholas.Filmdirectingfundamentals.FocalPress.2008

9. Unique vision:
Alfred hitchcock

10. A surprise can take seconds.
Anticipation can take
an hour.

11. Director´s role
Explain to your actors the difference between action and activity.
Suppose you are sitting in a hospital, in the emergency area, waiting
for exam results and reading a newspaper about a deadly virus. Are
you waiting or reading?
As soon as the doctor comes out to talk to you, you will drop the
newspaper.
So what is the reading, in dramatic terms?
It is an activity that accompanies the action of waiting.
Source:Proferes,Nicholas.Filmdirectingfundamentals.FocalPress.2008

12. Unique vision:
Tim Burton

13. “Visions are worth fighting for.
Why spend your life making someone else's dreams?”
Tim Burton.

15. 1.2. Pre cinema
Sleepy Hollow. Tim Burton

16. 1.2. Pre cinema
Thaumatrope
A disk with a picture on each side is attached to two pieces of string.

17. 1.2. Pre cinema Magic Lantern

18. 1.2. Pre cinema Eadweard Muybridge, Human and Animal Locomotion

19. 1.2. Pre cinema Eadweard Muybridge. Phenakistoscope disc.

20. 1.2. Pre cinema Eadweard 2015. Kyle Rideout.

21. Unique vision:
George Melies

22. George Melies: the first to use special effects on camera.
He had an epiphany after
his camera jammed then
restarted on la place de
l’Opéra and that defined
Méliès as a filmmaker.
Watching the footage
later that day, he reported:
“I suddenly saw a
Madeleine-Bastille
omnibus change into a
hearse and men into
women.” He realized that
by simply stopping the
camera to change the
scenery, he could create
the same illusions he had
been performing on stage.

23. George Melies: the first to use special effects on camera.
He managed the theater
company, wrote,
produced, directed,
edited, and acted in his
films, as well as designed
the sets and costumes.
For A Trip to the Moon, the
first science fiction film
ever made, he sculpted
the now iconic clay moon.
His success depended on
his vision and this
workload quickly turn into
failure. He was later
rediscovered in a train
station.

26. Unique vision:
Martin Scorcese

31. On March 22, 1895, Auguste
and Louis Lumière debuted
“Workers Leaving the
Lumière Factory,” a short film
widely regarded as the
invention of movies for mass
audiences.
The premiere was held at a
private screening for an
audience of 10.
They also created the
cinematograph, this
technology allowed multiple
moviegoers to experience a
projected film for the first
time.
Lumiere Bros. : the first successful film business.

32. Lumiere Bros. : the first successful film business.
The film was shot in
35mm, with the aspect
ratio of 1.33.1 at 16 frames
per second.
The Lumière brothers
were among the first
filmmakers in world
history, pioneering
cinematic technology as
well as establishing the
common grammar of film.
The brothers went on to
work on hundreds of films
in less than a decade.

33. 1.3. The role of the director: from Hollywood mass production employee to pioneer.
Spartacus. Stanley Kubrick.

34. 1.3. The role of the director: from Hollywood mass production employee to pioneer.
Kirk Douglas hired Kubrick
for $150,000 to take over
direction soon after he
fired director Anthony
Mann.
Kubrick had, at 31, already
directed four feature films,
and this became his
largest by far, with a cast
of over 10,000 and a
budget of $6 million.
Kubrick became the
youngest director in
Hollywood history to make
an epic film feature.
Spartacus. Stanley Kubrick.

35. 1.4 From David Wark Griffith to Serge M. Eisenstein

37. 1.4 From David Wark Griffith to Serge M. Eisenstein

39. European film vanguards: the director as
author
2.1. Auteur cinema theory: concepts
2.2. German expressionism and French surrealism
2.3. Italian Neorealism and Japanese Cinema of the 1930s
2.4. Nouvelle Vague and the New German cinema
Unit2

40. 2.1. Auteur cinema theory: concepts
2.2. German expressionism and French surrealism
2.3. Italian Neorealism and Japanese Cinema of the 1930s
2.4. Nouvelle Vague and the New German cinema
Unit 2

41. What makes a director an
author?

42. “An auteur is a filmmaker
whose individual style
and complete control
over all elements of
production give a film its
personal and unique
stamp.”
Creating meaning that
only he can, using the
tools of filmmaking,
through the lens of his
mind and personality.
The “auteur” theory.

43. A defined signature
style using the
elements of cinema.
The “auteur” theory.
1. Story / Script.
2. Production design.
3. Color
4. Cinematography.
5. Sound design.
6. Music.
7. Editing.

44. 2.2. German expressionism and French surrealism

45. 2.2. German expressionism

47. 1. Expressionist mise-en-scene.
2. Long shadow effects.
3. Chiaroscuro lighting
4. Artificial sets with realistic details.
5. Detailed and meaningful sets.
6. Camera tilting and extreme angles.
7. Themes evoks mystery, hallucinations and dreams.
8. Slow pace editing.
German expressionism
Characteristics:

48. 2.2. German expressionism
Metropolis. Fritz Lang.

49. 2.2. German expressionism and influence.

50. 2.2. German expressionism and influence.

51. 2.2. German expressionism and influence.

52. 2.2. German expressionism and influence.

53. 2.2. German expressionism and influence.

54. 2.2. German expressionism and influence.

55. 2.2. German expressionism and influence.

56. German expressionism and Tim Burton: https://vimeo.com/130795708

57. 2.2. French surrealism
Un chien andalou. 1929
Luis Buñuel.
Salvador Dalí.

58. 2.2. French surrealism
Le sang d’un poète.
1930. Jean Cocteau.

59. 2.2. French surrealism
La belle et la bête. 1946.
Jean Cocteau.

60. French Surrealism
Characteristics:
- Confusing plot
-Dreams / nightmares.
-Human / inhuman.
-Escape from reality.
-Juxtaposing elements
-Irrational behavior and
strange places.
-Abstraction of real life.
2.2. French surrealism

61. 2.2. French surrealism and influence Eraserhead. David Lynch.

62. Unique vision:
Jean-Luc Godard

63. Unique vision:
François Truffaut

64. Unique vision:
Robert rodriguez

65. Vida del ahorcado. Ivan Mora Manzano

66. Unique vision:
Ivan Mora Manzano