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Children Making Short Films About Weather
- 1. Le Cinema, cent ans de jeunesse Children Making Very Short Films Mark Reid, BFI Education
- 2. Le Cinema, cent ans de jeunesse • Since 1995 • Cinémathèque Française • ‘a question of cinema’ • Formal and aeshetic properties • Watching and making together • Authenticity of children’s view
- 3. Sample themes • ‘why move the camera?’ • Real/ fiction • ‘the long take’ • Gaps and spaces • Showing and hiding • Colour in film 2015/16 Weather in film
- 4. Method: ‘the rules of the game’ Lots of clips, from world cinema ‘Typology’ – different types of clip Three Exercises Final 8 minute film
- 5. + The Seasons The Seasons Etre et Avoir Amarcord
- 6. MÉTÉO MINUTES – EXERCISE 1 Lumiere Minute - One minute to film the weather where I live. This can be filmed at school, in the street, in your neighbourhood, in your town, or out in the countryside, wherever you live or spend a large portion of your time. Each participant will film their minute from a fixed point of view, paying close attention to sound.
- 7. MÉTÉO MINUTES – LEGSBY PRIMARY More Legsby Minutes: http://bit.ly/1Vshzam
- 8. LE MÉTÉO – EXERCISE 2 Feelings: Give a representation or impression of a weather event, such as rain, wind, sun, fog, the cold or the heat. You will do this by filming a series of short shots, which can either be shot in sequence, or brought together through editing. This exercise is an opportunity to work on sound techniques, both in the creation of sounds to reflect the impression you wish to give, and also in the recording of the sounds of the weather events. Each impression should last a maximum of 2 minutes.
- 10. Film the same simple situation in several different weather conditions. The scene can be filmed and edited over 2 or 3 shots. In each version of the film you must have the same location, the same characters, and the same interaction between the characters, but it should filmed and staged according to the weather conditions of the moment in which you film.. If this exercise is filmed in an interior location, at least one shot must contain a view to the world outdoors. The film should last up to 4 minutes. LE MÉTÉO – EXERCISE 2
Editor's Notes
- For my contribution, I would like to focus on work made by primary school children as part of a programme BFI has been involved in for the last 6 years. The programme is called le Cinema, cent ans de jeunesse, and has been running since 1995, under the direction of the Cinematheque Francaise. CCAJ is described as ‘film watching, making and thinking’ programme, in which the twin poles of film education – watching and making – are integrated into a fully formed exploratory process, following a ‘question of cinema’ that changes each year. In my first year the question was ‘why move the camera?’ Subsequently it has asked ‘what is the relation between the real and fiction?’ or between ‘what is shown and hidden’ in film. This year, we are looking at the role of weather in film: its place in narrative, in theme, and in relation to character. The programme has a number of features which are quite unique in my experience of film education: the integration of watching and making (‘va et vient’, the French call it) – as reciprocal and dialogic, not watching then making; the exploration of a ‘question of cinema’, rather than ‘using’ film for other means (social issues, social skills, other curriculum aims); the focus on the formal and aesthetic properties of film; and a respect – even reverence – for the views, sensibility, and experience of the child. There are weaknesses: film – as ‘cinema’ – is probably too hermetically sealed from the wider world, and the wider moving image; and they follow a set of rules (regles du jeu) which are maybe too rigidly applied. But overall the focus on formalism, authenticity of experience, and constraints that enable new thinking and experience, I think outweigh the weaknesses. Above all, I think it offers a model of ‘film as education’ that is rich and generative, that is realistically intellectually challenging for children and young people, and that takes them into areas of film that they haven’t yet experienced. It exemplifies what I think the purposes of art education should be: creating opportunities for children and young people to ‘look and listen more closely’.
- For my contribution, I would like to focus on work made by primary school children as part of a programme BFI has been involved in for the last 6 years. The programme is called le Cinema, cent ans de jeunesse, and has been running since 1995, under the direction of the Cinematheque Francaise. CCAJ is described as ‘film watching, making and thinking’ programme, in which the twin poles of film education – watching and making – are integrated into a fully formed exploratory process, following a ‘question of cinema’ that changes each year. In my first year the question was ‘why move the camera?’ Subsequently it has asked ‘what is the relation between the real and fiction?’ or between ‘what is shown and hidden’ in film. This year, we are looking at the role of weather in film: its place in narrative, in theme, and in relation to character. The programme has a number of features which are quite unique in my experience of film education: the integration of watching and making (‘va et vient’, the French call it) – as reciprocal and dialogic, not watching then making; the exploration of a ‘question of cinema’, rather than ‘using’ film for other means (social issues, social skills, other curriculum aims); the focus on the formal and aesthetic properties of film; and a respect – even reverence – for the views, sensibility, and experience of the child. There are weaknesses: film – as ‘cinema’ – is probably too hermetically sealed from the wider world, and the wider moving image; and they follow a set of rules (regles du jeu) which are maybe too rigidly applied. But overall the focus on formalism, authenticity of experience, and constraints that enable new thinking and experience, I think outweigh the weaknesses. Above all, I think it offers a model of ‘film as education’ that is rich and generative, that is realistically intellectually challenging for children and young people, and that takes them into areas of film that they haven’t yet experienced. It exemplifies what I think the purposes of art education should be: creating opportunities for children and young people to ‘look and listen more closely’.
- This year, everyone has been making Lumiere Minutes about the weather: capturing moments, one minute long, that reveal the weather, like this one Again, have a conversation about what you see, hear, feel, think about what’s going on in that shot; how do the resources of film (framing; depth of field; mise en scene; sound; time) create those feelings and responses? I want to ‘burrow into’ these Lumiere Minutes by looking at two or three more. We’ll ‘burrow in’ together, using quotes from a number of critics all allied with the work of Andre Bazin: either Bazin himself; Dudley Andrew, one of his best interpreters in English; and Eric Rohmer and Serge Daney, critics who developed ideas alongside Bazin, or under his influence. I think both Bazin’s ideas, and those derived from him later, underpin a great deal of the CCAJ approach, and so will I hope illuminate the work made by children on the programme.
- This year, everyone has been making Lumiere Minutes about the weather: capturing moments, one minute long, that reveal the weather, like this one Again, have a conversation about what you see, hear, feel, think about what’s going on in that shot; how do the resources of film (framing; depth of field; mise en scene; sound; time) create those feelings and responses? I want to ‘burrow into’ these Lumiere Minutes by looking at two or three more. We’ll ‘burrow in’ together, using quotes from a number of critics all allied with the work of Andre Bazin: either Bazin himself; Dudley Andrew, one of his best interpreters in English; and Eric Rohmer and Serge Daney, critics who developed ideas alongside Bazin, or under his influence. I think both Bazin’s ideas, and those derived from him later, underpin a great deal of the CCAJ approach, and so will I hope illuminate the work made by children on the programme.
- This year, everyone has been making Lumiere Minutes about the weather: capturing moments, one minute long, that reveal the weather, like this one Again, have a conversation about what you see, hear, feel, think about what’s going on in that shot; how do the resources of film (framing; depth of field; mise en scene; sound; time) create those feelings and responses? I want to ‘burrow into’ these Lumiere Minutes by looking at two or three more. We’ll ‘burrow in’ together, using quotes from a number of critics all allied with the work of Andre Bazin: either Bazin himself; Dudley Andrew, one of his best interpreters in English; and Eric Rohmer and Serge Daney, critics who developed ideas alongside Bazin, or under his influence. I think both Bazin’s ideas, and those derived from him later, underpin a great deal of the CCAJ approach, and so will I hope illuminate the work made by children on the programme.