This document summarizes a training session on representing games and play in film. It discusses various categories of play, including games of chance, pretending to be something else, war games, and games that allow transgressing social norms. Many film clips are referenced as examples, such as scenes of children playing hide-and-seek, spinning games, and make-believe. The discussion covers how play allows both social learning and freedom of expression. It also distinguishes between games, which strictly follow rules, and freer forms of play.
1. The document summarizes a training session about analyzing films through the lens of "play". It discusses various theories of play and childhood development.
2. Examples of films that depict different aspects of play are shown and analyzed, such as isolation, rules, objects becoming characters, and virtuosity. Clips shown include Kiarostami's Break Time, Bresson's Mouchette, and Rivette's Celine and Julie.
3. The concept of "islands of play" is introduced, where play occurs in a closed circle separate from the real world, with its own rules. Examples discussed include Kitano's Sonatine and Visages d'enfants.
This document provides a comparison of the films Zombieland and Sing Street. It summarizes the plots, genres, target audiences, and key messages of each film. It also analyzes and compares the use of cinematic techniques in select scenes from both films. Overall, the document evaluates both films as financial and critical successes that effectively used humor to engage audiences while conveying messages about overcoming challenges through determination and finding strength in community.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The opening montage of City of God successfully introduces themes of violence and poverty. Extreme close-ups of a sharpened knife establish violence as an everyday occurrence used to gain power. The color palette is cold with blues and grays, though shots of orange carrots and chickens in vivid color provide hints of livelier representations of Brazil. Fast-paced editing, close-ups, and camera movements build a confused but stylized feel, while the escape of a chicken may metaphorize characters' inability to escape their circumstances in the favelas.
The article reviews the short film "Fluff" directed by Rufus Williams. It summarizes the plot, which involves a boy seeking advice from puppets after cheating on his girlfriend. It praises the performances of the puppets, particularly Terrisha Downton-Snood in the leading role. While noting the film's creative exploration of young love, it also comments on Williams' breakthrough from his usual comedic roles.
This document discusses a student's analysis of the films Reservoir Dogs and The Wrestler after watching them without sound. For Reservoir Dogs, the student noticed how Tarantino used character placement, lighting, and camerawork to show relationships and distinguish between the criminals' world and the outside world. For The Wrestler, the student observed how Aronofsky used shots from behind Randy to portray his depressed life, and how lighting differentiated good and bad areas in his life. Watching these films without sound revealed directorial techniques the student had not previously noticed.
Creative Critical Reflection Movie Opening AprilAlish Ali
The document provides an analysis of a student film opening titled "April" for a media studies course. The film uses conventions of the drama genre by establishing realistic characters and settings. Sound design incorporates both diegetic and non-diegetic elements to highlight conflict. Editing techniques like filters and camerawork convey emotion. The story follows childhood friends who get in a fight, leading one kid to run into an accident. As teenagers, the characters struggle with how the accident affected their lives and friendship.
updated without utube posts Q1 media cs work power pointgabby_wd
Our thriller opening sequence uses conventions of real thrillers to hook the audience. It establishes tension through mysterious music and imagery, challenging stereotypes by suggesting the female nanny may be involved in the kidnapping plot. The sequence leaves the audience with questions by ending on a cliffhanger as the nanny smiles and drives away with the girl.
1. The document summarizes a training session about analyzing films through the lens of "play". It discusses various theories of play and childhood development.
2. Examples of films that depict different aspects of play are shown and analyzed, such as isolation, rules, objects becoming characters, and virtuosity. Clips shown include Kiarostami's Break Time, Bresson's Mouchette, and Rivette's Celine and Julie.
3. The concept of "islands of play" is introduced, where play occurs in a closed circle separate from the real world, with its own rules. Examples discussed include Kitano's Sonatine and Visages d'enfants.
This document provides a comparison of the films Zombieland and Sing Street. It summarizes the plots, genres, target audiences, and key messages of each film. It also analyzes and compares the use of cinematic techniques in select scenes from both films. Overall, the document evaluates both films as financial and critical successes that effectively used humor to engage audiences while conveying messages about overcoming challenges through determination and finding strength in community.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The opening montage of City of God successfully introduces themes of violence and poverty. Extreme close-ups of a sharpened knife establish violence as an everyday occurrence used to gain power. The color palette is cold with blues and grays, though shots of orange carrots and chickens in vivid color provide hints of livelier representations of Brazil. Fast-paced editing, close-ups, and camera movements build a confused but stylized feel, while the escape of a chicken may metaphorize characters' inability to escape their circumstances in the favelas.
The article reviews the short film "Fluff" directed by Rufus Williams. It summarizes the plot, which involves a boy seeking advice from puppets after cheating on his girlfriend. It praises the performances of the puppets, particularly Terrisha Downton-Snood in the leading role. While noting the film's creative exploration of young love, it also comments on Williams' breakthrough from his usual comedic roles.
This document discusses a student's analysis of the films Reservoir Dogs and The Wrestler after watching them without sound. For Reservoir Dogs, the student noticed how Tarantino used character placement, lighting, and camerawork to show relationships and distinguish between the criminals' world and the outside world. For The Wrestler, the student observed how Aronofsky used shots from behind Randy to portray his depressed life, and how lighting differentiated good and bad areas in his life. Watching these films without sound revealed directorial techniques the student had not previously noticed.
Creative Critical Reflection Movie Opening AprilAlish Ali
The document provides an analysis of a student film opening titled "April" for a media studies course. The film uses conventions of the drama genre by establishing realistic characters and settings. Sound design incorporates both diegetic and non-diegetic elements to highlight conflict. Editing techniques like filters and camerawork convey emotion. The story follows childhood friends who get in a fight, leading one kid to run into an accident. As teenagers, the characters struggle with how the accident affected their lives and friendship.
updated without utube posts Q1 media cs work power pointgabby_wd
Our thriller opening sequence uses conventions of real thrillers to hook the audience. It establishes tension through mysterious music and imagery, challenging stereotypes by suggesting the female nanny may be involved in the kidnapping plot. The sequence leaves the audience with questions by ending on a cliffhanger as the nanny smiles and drives away with the girl.
The document discusses initial treatment locations for filming a music video. It plans to film establishing shots in London to give the impression the video is set there, while actually filming most scenes locally in Henley-on-Thames. Specific locations mentioned include a high street made to look like London, a school, a park by the river trying to resemble a London garden, Henley's town center avoiding landmarks, and an alleyway for a mock drug deal scene. The goal is to make the locations look like London while benefitting from easier local filming.
Many reviewers commented on aspects of the filmmaking that could be improved such as the acting, sound quality, lighting, camera work, and script. Specific suggestions included enhancing video quality, improving background noise blocking, focusing shots more consistently, pacing dialogue delivery and texting scenes better, and refining character details and reactions. However, several also said they enjoyed the film overall and felt few changes were truly needed.
The document analyzes the mise-en-scene, sound, camera work, and editing techniques used in a scene from the film "It Follows". The abandoned swimming pool setting traps the characters and isolates them with no escape. Dark blue lighting and the character's costumes establish a sense of danger and vulnerability. Tense non-diegetic sounds build anxiety as the scene progresses. Shots from the creature's perspective and disorienting camera angles make the audience feel helpless. The scene cuts together to increase pace and suspense, leaving viewers unsure if the creature has been defeated.
The opening sequence of The Possession begins with a close-up shot of an old woman looking extremely worried while holding an antique box engraved with symbols. It is revealed through cross-cutting that the box is the source of her distress. As she tries to destroy the box, she begins chanting in a foreign language and her body contorts, seemingly possessed by a supernatural force within the box. Throughout, a song plays about heaven, contrasting with the evil force of the box. The sequence wastes no time establishing the supernatural themes of possession and evil that will be central to the film's plot.
The American Pie trailer effectively uses various film techniques to appeal to its target teenage audience and comply with conventions of the teen comedy genre. Through the use of shots that depict stereotypical teenage situations like watching porn and peer pressure around sex, the trailer aims to make the film relatable. It also uses dialogue around typical teenage concerns like relationships and sex. Editing techniques like cross-cutting create a fast-paced feel that matches teenage life. Costumes, lighting and props further position the film within the genre by showing aspects like teenage bedrooms and magazines. Overall, the trailer complies with genre conventions through its crude humor, school setting, and portrayal of awkward parent-child interactions centered around the universal teenage experience.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguments with her mother, feelings of not fitting in, and engaging in self-harm. The flashbacks depict her struggle to feel perfect and happy with herself. Interspersed are scenes of the artist Pink singing and appearing in one flashback. The overarching message is that everyone is perfect just as they are.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguing with her mother, feeling pressure to be skinny, and engaging in self-harm. These flashbacks are intercut with scenes of her present day life with her partner and daughter. The overall themes are self-hatred, struggles with body image, and learning to find acceptance. Through depicting her painful past and ultimate transformation, the video conveys the message that everyone is perfect just as they are.
The documentary series Spaced followed Tim and Daisy, who meet by chance after Tim's breakup. Starring Simon Pegg, Nick Frost, and Jessica Hynes, the sitcom aired for two years and was nominated for BAFTA awards. Episode 5 featured skilled editing with flashbacks, flash-forwards, and a mock news segment. Sound effects throughout the episodes, like accurate gun noises, enhanced the realism. Many episodes also included intertextual references to other works. Overall, the documentary examines how the series' editing, sound, and intertextuality contributed to its humor and success, especially for audiences at the time.
The document provides a detailed analysis and summary of the trailers for three films: If I Stay (2014), Nerve (2016), and Mother's Day (2016). Key points and events are summarized for each trailer through the use of dialogue, shots, music, and editing techniques to build intrigue and set up plot points. Transitions between scenes are used to convey changes in mood, tone, and whether something dramatic is about to occur. The trailers analyzed leave the audience with questions to make them want to watch the full films.
The document provides a schedule and summaries of 9 films shown at a film festival over 3 days. The schedule includes categories of animation, drama, thriller, comedy and memory. Film summaries describe plots, praise strong performances and cinematography, and note some flaws like lack of explanations or abrupt endings.
This document outlines the crew and cast needed for a film project. The director, DOP, drone operator, and lighting and audio roles will all be filled by the document author. Zach will play Ben, Fraser will play Adam, Gina will play Chloe, and Sammy's small role as Chloe's friend may not require an actual actor. Louis is cast as the more rebellious character Ben due to his appearance in tracksuits and hoodies, while Fraser, playing the kind Adam, looks more natural in other clothing. Gina is playing Chloe, who starts as a sweetheart but reveals a darker, snakelike side later in the plot. All cast members have experience in school productions, which
Unit 10: fictional film codes and conventionsholliejoice
The document discusses the codes and conventions of horror films through an analysis of Insidious (2011) and I.T. (2017). It examines both the stylistic codes related to elements like lighting, music, and props, as well as narrative codes regarding the typical story structure of horror films. Both films effectively employ many standard horror conventions like low-key lighting, unsettling music, and a narrative arc involving an equilibrium disruption, problem recognition/resolution, and a return to equilibrium. While utilizing familiar tropes, the films still offer some unique storytelling elements to appeal to audiences seeking both familiar thrills and new surprises.
This document provides information about the play "Bent" including credits for the cast and crew. It was produced by Wandering Minds at Boston University and directed by Meg Boeni. The play explores the persecution of gay men in Nazi Germany and the characters are fictional but based on real events. A note from the director discusses why she chose this play and the continued struggles for LGBTQ rights. Biographies of the cast and crew are also included.
The document analyzes and summarizes the opening title sequences of several films. It notes conventions like showing the main characters, producers, and directors in the titles while an opening scene plays. Violence, danger, and death are often foreshadowed through visual cues in the titles. Locations and genres are also established. The analyses find consistency within the openings and across films in using titles to set the tone and focus on central figures.
The programme for the Aesthetica Short Film Festival includes film collections in different genres each day, as well as masterclasses and a university showcase. On Tuesday the genres included are comedy, experimental, and music video. The guest programme for Wednesday is titled "Tales from Isolation" from Short of the Week. The document provides summaries of four short films screened at the festival: "Knock Door Run", "Werewolf", "System Error", and "Shuttlecock". It also briefly summarizes the short film "Idol", praising its realistic portrayal of the child performer industry and disturbing tone.
The document summarizes research on trailers and posters for psychological thriller films. It analyzes the overall structures, sounds, and visual elements of trailers for Get Out and We Need to Talk About Kevin. It also analyzes posters for Silence of the Lambs and Black Swan. Key findings include how the trailers use tension-building music and editing to portray the films' psychological elements without revealing full plots. Common visual techniques identified are use of color symbolism and compositional elements to characterize figures and hint at themes. The analysis will inform the creator's own production work through suggestive imagery, sound design, and portrayal of characters' emotions.
The document provides an analysis of horror film openings, discussing conventions used in three example openings:
1) "Women in Black" uses vulnerable young victims, eerie sounds, Victorian costumes, antique props, and a possessed doll to establish horror conventions.
2) "Se7en" uses quick cuts, dark lighting, tense sounds, a cryptic scrapbook, and the color red to create mystery and tension.
3) "American Horror Story" features flames, blood credits on a newspaper background, a fierce tiger, and a recurring silhouette to invoke danger and mystery.
The analysis identifies conventions like death, ghosts, possessed characters, darkness, mystery, and tension-building editing and sound as
Textual Analysis Trailer of Teaser Trailerhc160471
This document provides an analysis of shots and scenes from a film trailer. It summarizes the key elements of mise-en-scene, editing, and how they are used to set the mood and provide context clues about the genre and themes. Specific shots are described that introduce characters, establish the setting and time period, start to build tension through faster pacing and stormy weather, reveal clues about a potential kidnapping, and provide the first brief glimpse of the antagonist monster in a creepy clown costume. The last shots are analyzed as the creepiest, using a child's unnatural laughter and shouting to unsettle viewers and draw them into wanting to understand the full story.
The trailer is for a horror film called Evil Dead that takes place in a remote cabin in the woods. Five friends unwittingly summon demons from a Book of Dead they discover. The demons begin possessing the friends one by one until only one is left to fight for survival. The trailer uses ominous shots of the dark woods and cabin along with unsettling non-diegetic sounds to set a scary, sinister mood that suggests the film is a horror. It also employs quick cuts and close-ups during intense scenes to build tension and emphasize gore.
The first scene of The Hunger Games establishes the difference in social class between the wealthy Capitol citizens and the poorer districts. It shows two well-dressed, stylized men in the Capitol casually discussing the Hunger Games, then cuts to a remote wooded area in one of the districts, where Katniss comforts her simpler-dressed sister, showing the districts live in fear of being selected to compete.
The Village is a 2004 psychological thriller film written and directed by M. Night Shyamalan. It stars Bryce Dallas Howard and Joaquin Phoenix. Though it was not as well received critically as Shyamalan's previous films, it was nominated for several awards and made $256 million at the box office on a $71.6 million budget. The film uses flashbacks and plot twists to gradually reveal its twist ending and keep viewers engaged as they try to solve the mystery. Audience reception was mixed, with some praising its atmosphere and performances while others found the plot convoluted and twist underwhelming.
This document provides analysis of the film Imperial Dreams, including:
- The film tells the story of Bambi, a recently paroled convict trying to stay out of trouble and reconnect with his son while his son's mother is in jail.
- It examines themes of redemption, struggling to lead a good life despite homelessness and poverty, and the importance of family.
- Through elements like police sirens in the background, it represents the lower-class, impoverished black neighborhoods where the story is set.
- The narrative focuses on Bambi reconnecting with his son in a linear story that illustrates the difficulties of life after prison.
The document discusses initial treatment locations for filming a music video. It plans to film establishing shots in London to give the impression the video is set there, while actually filming most scenes locally in Henley-on-Thames. Specific locations mentioned include a high street made to look like London, a school, a park by the river trying to resemble a London garden, Henley's town center avoiding landmarks, and an alleyway for a mock drug deal scene. The goal is to make the locations look like London while benefitting from easier local filming.
Many reviewers commented on aspects of the filmmaking that could be improved such as the acting, sound quality, lighting, camera work, and script. Specific suggestions included enhancing video quality, improving background noise blocking, focusing shots more consistently, pacing dialogue delivery and texting scenes better, and refining character details and reactions. However, several also said they enjoyed the film overall and felt few changes were truly needed.
The document analyzes the mise-en-scene, sound, camera work, and editing techniques used in a scene from the film "It Follows". The abandoned swimming pool setting traps the characters and isolates them with no escape. Dark blue lighting and the character's costumes establish a sense of danger and vulnerability. Tense non-diegetic sounds build anxiety as the scene progresses. Shots from the creature's perspective and disorienting camera angles make the audience feel helpless. The scene cuts together to increase pace and suspense, leaving viewers unsure if the creature has been defeated.
The opening sequence of The Possession begins with a close-up shot of an old woman looking extremely worried while holding an antique box engraved with symbols. It is revealed through cross-cutting that the box is the source of her distress. As she tries to destroy the box, she begins chanting in a foreign language and her body contorts, seemingly possessed by a supernatural force within the box. Throughout, a song plays about heaven, contrasting with the evil force of the box. The sequence wastes no time establishing the supernatural themes of possession and evil that will be central to the film's plot.
The American Pie trailer effectively uses various film techniques to appeal to its target teenage audience and comply with conventions of the teen comedy genre. Through the use of shots that depict stereotypical teenage situations like watching porn and peer pressure around sex, the trailer aims to make the film relatable. It also uses dialogue around typical teenage concerns like relationships and sex. Editing techniques like cross-cutting create a fast-paced feel that matches teenage life. Costumes, lighting and props further position the film within the genre by showing aspects like teenage bedrooms and magazines. Overall, the trailer complies with genre conventions through its crude humor, school setting, and portrayal of awkward parent-child interactions centered around the universal teenage experience.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguments with her mother, feelings of not fitting in, and engaging in self-harm. The flashbacks depict her struggle to feel perfect and happy with herself. Interspersed are scenes of the artist Pink singing and appearing in one flashback. The overarching message is that everyone is perfect just as they are.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguing with her mother, feeling pressure to be skinny, and engaging in self-harm. These flashbacks are intercut with scenes of her present day life with her partner and daughter. The overall themes are self-hatred, struggles with body image, and learning to find acceptance. Through depicting her painful past and ultimate transformation, the video conveys the message that everyone is perfect just as they are.
The documentary series Spaced followed Tim and Daisy, who meet by chance after Tim's breakup. Starring Simon Pegg, Nick Frost, and Jessica Hynes, the sitcom aired for two years and was nominated for BAFTA awards. Episode 5 featured skilled editing with flashbacks, flash-forwards, and a mock news segment. Sound effects throughout the episodes, like accurate gun noises, enhanced the realism. Many episodes also included intertextual references to other works. Overall, the documentary examines how the series' editing, sound, and intertextuality contributed to its humor and success, especially for audiences at the time.
The document provides a detailed analysis and summary of the trailers for three films: If I Stay (2014), Nerve (2016), and Mother's Day (2016). Key points and events are summarized for each trailer through the use of dialogue, shots, music, and editing techniques to build intrigue and set up plot points. Transitions between scenes are used to convey changes in mood, tone, and whether something dramatic is about to occur. The trailers analyzed leave the audience with questions to make them want to watch the full films.
The document provides a schedule and summaries of 9 films shown at a film festival over 3 days. The schedule includes categories of animation, drama, thriller, comedy and memory. Film summaries describe plots, praise strong performances and cinematography, and note some flaws like lack of explanations or abrupt endings.
This document outlines the crew and cast needed for a film project. The director, DOP, drone operator, and lighting and audio roles will all be filled by the document author. Zach will play Ben, Fraser will play Adam, Gina will play Chloe, and Sammy's small role as Chloe's friend may not require an actual actor. Louis is cast as the more rebellious character Ben due to his appearance in tracksuits and hoodies, while Fraser, playing the kind Adam, looks more natural in other clothing. Gina is playing Chloe, who starts as a sweetheart but reveals a darker, snakelike side later in the plot. All cast members have experience in school productions, which
Unit 10: fictional film codes and conventionsholliejoice
The document discusses the codes and conventions of horror films through an analysis of Insidious (2011) and I.T. (2017). It examines both the stylistic codes related to elements like lighting, music, and props, as well as narrative codes regarding the typical story structure of horror films. Both films effectively employ many standard horror conventions like low-key lighting, unsettling music, and a narrative arc involving an equilibrium disruption, problem recognition/resolution, and a return to equilibrium. While utilizing familiar tropes, the films still offer some unique storytelling elements to appeal to audiences seeking both familiar thrills and new surprises.
This document provides information about the play "Bent" including credits for the cast and crew. It was produced by Wandering Minds at Boston University and directed by Meg Boeni. The play explores the persecution of gay men in Nazi Germany and the characters are fictional but based on real events. A note from the director discusses why she chose this play and the continued struggles for LGBTQ rights. Biographies of the cast and crew are also included.
The document analyzes and summarizes the opening title sequences of several films. It notes conventions like showing the main characters, producers, and directors in the titles while an opening scene plays. Violence, danger, and death are often foreshadowed through visual cues in the titles. Locations and genres are also established. The analyses find consistency within the openings and across films in using titles to set the tone and focus on central figures.
The programme for the Aesthetica Short Film Festival includes film collections in different genres each day, as well as masterclasses and a university showcase. On Tuesday the genres included are comedy, experimental, and music video. The guest programme for Wednesday is titled "Tales from Isolation" from Short of the Week. The document provides summaries of four short films screened at the festival: "Knock Door Run", "Werewolf", "System Error", and "Shuttlecock". It also briefly summarizes the short film "Idol", praising its realistic portrayal of the child performer industry and disturbing tone.
The document summarizes research on trailers and posters for psychological thriller films. It analyzes the overall structures, sounds, and visual elements of trailers for Get Out and We Need to Talk About Kevin. It also analyzes posters for Silence of the Lambs and Black Swan. Key findings include how the trailers use tension-building music and editing to portray the films' psychological elements without revealing full plots. Common visual techniques identified are use of color symbolism and compositional elements to characterize figures and hint at themes. The analysis will inform the creator's own production work through suggestive imagery, sound design, and portrayal of characters' emotions.
The document provides an analysis of horror film openings, discussing conventions used in three example openings:
1) "Women in Black" uses vulnerable young victims, eerie sounds, Victorian costumes, antique props, and a possessed doll to establish horror conventions.
2) "Se7en" uses quick cuts, dark lighting, tense sounds, a cryptic scrapbook, and the color red to create mystery and tension.
3) "American Horror Story" features flames, blood credits on a newspaper background, a fierce tiger, and a recurring silhouette to invoke danger and mystery.
The analysis identifies conventions like death, ghosts, possessed characters, darkness, mystery, and tension-building editing and sound as
Textual Analysis Trailer of Teaser Trailerhc160471
This document provides an analysis of shots and scenes from a film trailer. It summarizes the key elements of mise-en-scene, editing, and how they are used to set the mood and provide context clues about the genre and themes. Specific shots are described that introduce characters, establish the setting and time period, start to build tension through faster pacing and stormy weather, reveal clues about a potential kidnapping, and provide the first brief glimpse of the antagonist monster in a creepy clown costume. The last shots are analyzed as the creepiest, using a child's unnatural laughter and shouting to unsettle viewers and draw them into wanting to understand the full story.
The trailer is for a horror film called Evil Dead that takes place in a remote cabin in the woods. Five friends unwittingly summon demons from a Book of Dead they discover. The demons begin possessing the friends one by one until only one is left to fight for survival. The trailer uses ominous shots of the dark woods and cabin along with unsettling non-diegetic sounds to set a scary, sinister mood that suggests the film is a horror. It also employs quick cuts and close-ups during intense scenes to build tension and emphasize gore.
The first scene of The Hunger Games establishes the difference in social class between the wealthy Capitol citizens and the poorer districts. It shows two well-dressed, stylized men in the Capitol casually discussing the Hunger Games, then cuts to a remote wooded area in one of the districts, where Katniss comforts her simpler-dressed sister, showing the districts live in fear of being selected to compete.
The Village is a 2004 psychological thriller film written and directed by M. Night Shyamalan. It stars Bryce Dallas Howard and Joaquin Phoenix. Though it was not as well received critically as Shyamalan's previous films, it was nominated for several awards and made $256 million at the box office on a $71.6 million budget. The film uses flashbacks and plot twists to gradually reveal its twist ending and keep viewers engaged as they try to solve the mystery. Audience reception was mixed, with some praising its atmosphere and performances while others found the plot convoluted and twist underwhelming.
This document provides analysis of the film Imperial Dreams, including:
- The film tells the story of Bambi, a recently paroled convict trying to stay out of trouble and reconnect with his son while his son's mother is in jail.
- It examines themes of redemption, struggling to lead a good life despite homelessness and poverty, and the importance of family.
- Through elements like police sirens in the background, it represents the lower-class, impoverished black neighborhoods where the story is set.
- The narrative focuses on Bambi reconnecting with his son in a linear story that illustrates the difficulties of life after prison.
The document analyzes and summarizes several horror movie trailers. It discusses the costumes, gestures, and narratives conveyed in each trailer. Key details include everyday clothing torn by violence, frightened running and screaming, dangerous games with life-threatening consequences, and tension built through quick cuts and loud noises without resolution. The purpose is to understand how the trailers entice audiences to watch the full films and experience fear.
The document provides an analysis of the establishing shots in the film Zombieland. It summarizes several key scenes that set the tone and establish elements of the genre. These include shots of a burning monument, a chase scene showing gore, a zoom out revealing the world in flames, and a comedic montage of zombies chasing people. The main character then narrates rules as disturbing scenarios involving zombies attacking children at a party are shown. Later scenes continue to reinforce the horror-comedy genre through over-the-top gore, humorous zombie chases, and implications of danger and loss of control.
This document provides notes and observations from the screening of the film City of God. It summarizes key scenes and events in the film through descriptions of the visual style, characters, and progression of the plot. The film depicts the rise of organized crime and gang violence in the slums of Rio de Janeiro from the 1960s to the early 1980s. It follows the character Rocket and how he rises from poverty to become a photographer while documenting the increasing power and corruption of drug dealers like Li'l Zé in the neighborhood. Violence breeds more violence as gangs battle each other, trapping the youth of the favelas in a hopeless cycle that few seem able to escape.
This document provides notes and observations from viewing the opening scenes of the film City of God. It summarizes key events and characters introduced. The poverty and violence of the slums are established through scenes showing crowded alleys, run-down buildings, and the police having old cars. Young characters aspire to be gangsters due to a lack of other opportunities. The film uses techniques like handheld camera, montages, and music to immerse the viewer in this world. It chronicles the rise of Li'l Zé from young hood to powerful drug dealer, and the resulting gang warfare over territory.
The short film will be 8-10 minutes long and focus on a young man's mental breakdown leading to suicide. Key characters include the unnamed young man, his friends, parents, and background people. The film will follow the young man's daily routine, which remains unchanged after he turns 18, causing him to feel disconnected. His routine is shown repeating but getting shorter until he stops going to school. He gets drunk and embarrasses himself, then takes acid and has an intense trip realizing his insignificance. The final shot will be of his bedroom door closing as he hangs himself. The filmmaker wants a gritty, dark style influenced by David Fincher to keep the audience on edge and make the young man feel isolated.
This document outlines the origins and progress of the Film Education: From Framework to Impact project between 2018-2021. It aimed to develop models of film education across Europe, conduct a landscape survey of film education in 29 countries, create an online course ("Film Education: A User's Guide") and regional training seminars, and hold an international conference in November 2020 in Erfurt. Key findings from the survey identified needs such as developing strategic visions, increasing teacher training, and prioritizing film in national curricula. The online course launched in March 2020 and had over 4,200 enrollments from countries like India, the US, and Egypt.
This document outlines a sample structure for a cinema club program called Cinemacent ans de jeunesse that explores concepts of time through film. Over 25 weeks, students would watch clips relating to different themes about time, complete three exercises filming shots exploring time's passage, and ultimately plan and film their own short film mixing showing and telling that includes changes in pace. Key activities include analyzing early cinema's temporal techniques, recording the continuity of actions, capturing dynamic tension under time pressure, and observing transformations over long takes.
This document discusses concepts of time in cinema. It begins by explaining that film is inherently a time-based medium structured around duration. Filmmakers use techniques like temporal markers and editing to manipulate the experience and flow of time. Early films by the Lumière brothers and Alice Guy Blaché explored the discoveries of capturing time through a motion picture. There are different types of time in film including scene time, duration, and simultaneous time. Exercises are proposed to experiment with capturing the passage of time through long takes, cuts, and transformations over the duration of a shot.
This document outlines the structure and goals of a 12-25 week filmmaking course titled "Sensory Cinema". The course will involve watching film clips to analyze how sensations are conveyed, completing three short film exercises paying attention to sensations, and making a final group film of 7-8 minutes focusing on sensations as perceived by characters or viewers. Examples of films that effectively convey sensations are provided. An analysis framework is introduced that focuses on how the five senses, movement, time, character perspectives, place, and memory are used to tell stories and evoke sensations through film.
Sample scheme of work for sensory cinemamarkreid1895
This document outlines a sample 26-week program called "Sensory Cinema" for exploring film through a sensory lens. It involves watching film clips each week that represent different themes like childhood memories, pure sensations, disconnected senses. Students do exercises like creating a short film representing everyday sensations or responding to music through images and sounds. They also work in groups on a final film project exploring sensations from different perspectives meant to cross boundaries between documentary, experimental and fiction filmmaking. The program is flexible and can be adjusted to fit available timeframes between 8-10 or up to 26 weeks.
1. The document outlines the structure and content for a filmmaking course titled "Sensory Cinema". The course will run for 12-25 weeks and include watching film clips, discussions, and creating short films.
2. Students will complete three short film exercises exploring everyday sensations, interpreting spaces through different senses, and responding to music through film.
3. For their final project, students will create a 7-8 minute mixed-form film communicating sensations as perceived by characters and disconnected from people on screen but relating to the viewer. The film will cross boundaries between documentary, experimental, and fiction filmmaking.
This document discusses how short films can be used to support literacy education. It outlines a 3-year project between the BFI, Bucks County Council, and Rothschild Foundation that uses film to enhance primary literacy and secondary foreign language learning. Research shows that moving image education can improve attainment, motivation, engagement, and understanding of texts. The document provides examples of pedagogical approaches like "Tell Me" grids that encourage analyzing films' characters, settings, and stories. It also summarizes research finding positive impacts of moving image education on literacy, enjoyment, and confidence.
This document discusses using short films to enhance literacy education. It argues that short films can make learning more active, connect classroom learning to students' lives outside of school, and deepen understanding of texts. Short films allow students to analyze elements like character, setting, story, symbolism, and film techniques. The document provides examples of activities like using "Tell Me" grids to discuss films, stopping and starting films to pick out details, and predicting what will happen next. It aims to show how analyzing short films can improve students' creative, critical and cultural understanding, and help develop literacy in the 21st century.
Film literacy in a contemporary landscapemarkreid1895
The document discusses the importance of film literacy and incorporating moving images into education curricula. It argues that film is the dominant art form of the 21st century and students need skills to engage with and understand film. Currently, film education varies between countries and regions with some placing more emphasis on it than others. The document advocates for taking a broader view of literacy to include moving images and considering how different forms of representation, like film, can stimulate different cognitive skills in students.
Final analysis of the film education surveymarkreid1895
This document summarizes the results of a survey on film education in Europe. 58 organizations responded from various European countries. The survey found that most organizations operate at a national level and focus on screenings and workshops. The most inspiring external project was "Cinema, Cents ans de jeunesse". The top purposes of film education according to respondents were the promotion of film as an art form and developing film literacy.
This document summarizes the responses from a survey of various film organizations regarding film education strategies. The survey found that the main goals of organizations were to develop critical understanding and engagement with film, as well as ensuring access to film for young people. Common projects involved screenings, workshops, and online resources. Key challenges identified were lack of teacher training, funding issues, and film education not being prioritized in school curricula.
This document outlines the structure and content for a filmmaking course focused on analyzing and creating situations. The course will run for 12-25 weeks and include viewing film clips, discussions, and completing exercises and a final film project centered around situations. Students will analyze situations through examining elements like character, setting, camerawork, and emotions. They will complete exercises filming situations without dialogue, between two characters linked to an emotion, and a final film where a situation changes over time, shifting viewer identification.
Scheme of Work for "Situation': CCAJ 2018/19markreid1895
This document outlines a sample structure for a cinema club program called "Cinemacent ans de jeunesse" over 25 weeks between November and May. The program focuses on exploring film techniques and analyzing how films portray different situations. It includes introductory discussions, exercises analyzing situations in paintings and filming short scenes, a screening of a full-length film, and culminates in students filming their own short films over 5-8 minutes about a changing situation.
This document discusses using short films to teach foreign languages to children. It describes how films provide a culturally rich context that engages children. Short films are preferable because they are new to children, manageable in length, and often high quality productions. The document outlines pedagogical approaches like using "Tell Me" grids to discuss a film's characters, setting, story, and mood in the target language. It also describes an ongoing program from the Cinematheque Francaise where children watch and discuss films together in multiple languages.
1. The document discusses film education in the UK context, where film is taught to varying degrees across England, Scotland, Northern Ireland, and Wales.
2. The BFI works in this context through programs like Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training.
3. The document discusses different models of film education, from film literacy to film as a creative art form, and argues that unfortunately no European curriculum requires the study of film for its own sake for all students.
This document discusses film education in the UK context and models of film education. It provides an overview of film education in different parts of the UK and how the BFI works to support film education through various programs. These include Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training. The document also discusses debates around using film to support literacy versus treating film as an art form. It outlines several potential models of film education, including using film for vocational skills, media literacy, creative expression, civic education, and audience development. The document argues that film education can enable unique types of thinking as described by Elliot Eisner, including flexible purposing and using material as
The document discusses key lessons and insights from a mid-term review of a filmmaking project focused on representing places. Some of the challenges discussed include balancing the representation of place with narrative elements, distinguishing between unique places and more generic spaces, and how to present places as characters. Younger students sometimes focused more on themselves while older students erased themselves to immerse the viewer in the place. The films created showed how places can be represented in evocative ways through imagery, sound, and fictionalized human testimony about the place.
The document discusses how imagination, creativity, and moving images can help find things we don't know we're looking for. It notes that if our only tool is a yardstick, we will only look for what can be measured. The arts can slow down perception, invite exploration, and give permission to play. Looking and listening closely to images, stories, and the world around us can lead to surprises. When teaching, it is important to slow children's perceptions, explore the potential of film, use constraints in creative tasks, help children closely examine their creations, and make room for surprise.
This document provides a 23-week curriculum plan for a project on Places and Stories for schools participating in research looking at how the project may improve writing skills. The plan involves weekly themes where students will view film clips, do activities and exercises to explore how places are portrayed in films and can inspire stories. They will film short videos of places and add elements to portray different times. The final weeks involve planning, filming and editing a short film where a character brings another to a place that elicits an emotional response.
Communicating effectively and consistently with students can help them feel at ease during their learning experience and provide the instructor with a communication trail to track the course's progress. This workshop will take you through constructing an engaging course container to facilitate effective communication.
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
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IGCSE Biology Chapter 14- Reproduction in Plants.pdf
Le jeu training session 02
1. 1
Cinema Cent Ans De Jeunesse – Le Jeu
Training Session 02
24-9-16
Games of Chance – 2
nd
Category
Games of true luck / hazard.
That which is unforseen. Alea – art driven by chance.
Again about Pierrot Le Fou
He talks about a moment in the bar where Pierrot comes across something by chance. 4 blokes.
Clip from M
The choosing.
The rhythm proposed by the counting.
ALEA - things that happen that are unforseen. Aleatory? Art driven by chance
Clip from Baie Des Ange - Demy
A moment in a casino.
It recalls the clip from the colour of money.
Music as part of this, in Demi’s work. A circular structure.
The filmmaker stops the fictious world and through film makes something else.
It’s very clear. The game is clear.
At the start we’re in a fictitious situation / constructed situation. Yet when the music starts everything
collapses in to something else. The shot sequence is different, and we loose the sense of the
chronology.
It feels like we’re inside a whirlwind.
2. 2
This is a good clip to look at how a game lifts things from the real in to something else.
He talks about a clip where there’s a game where someone tries to beat the other in a game, but by
cheating.
Playing at being another – 3
rd
Category
‘Simulacre’.
Tomboy is a great example of this.
Playing with objects - cars
He talks about Luxemboug and life in minature.
Play as an apprenticeship for reality.
Toys as objects created for play. How they are integrated in to our everyday sociatal models….
Clip from Tomboy
The two levels of play. The game and the playing of being a boy.
She observes, watches how to be and how to play at being a male.
He talks about the skill of the actor and the flimmaker. How the interior life is betrayed by exterior
gestures.
It’s a great film he says.
Clip from Intervallo
This is a MUST for CCAJ he says.
3. 3
The double play.
The field of play is very, very clear.
She narrates the fiction of the scene and plays out the parts. Then he takes over narrating what he
sees in his imagination.
Reality interrupts their play. What is that we’re hearing?
The play between the two of them.
The game slides from one thing to another.
Amongst boy games we find War most commonly represented in films.
Two teams against each other.
Home Alone.
Clip from the War of the Buttons
Games of honour and consequence.
The roles that they define themselves within the game - the chief the henchmen.
Their weapons - that’s not something that we have today. We’re past the age of wooden swords. It’s
more brutal than that now.
There’s a touch of Western about it, too.
Then there’s the battlefield, which is an historical archetype which proposes its own narrative.
Then there’s the actual fighting.
There’s a scene after this where the children explore the notion of Democracy.
It’s mostly an anarchic film.
Second Clip from the War of the Buttons
4. 4
To fight nude - the advantages…?
The wee one gets lost - and theres a couple who are off out on their bikes and they’re unaware of the
wee man.
The scene where they discuss democracy.
Another CABIN!
They discuss the finery of what Freedom and brotherhood & equality mean - you know the word but
not the meaning!
The struggle for control over meaning.
“To each his own work - that’s equality!”
This next clip is not part of what we’re studying but, oh to hell with it, I love this film, he says.
It’s a bit like Zero de Conduite.
The afterwar period.
Refelcted in childhood play.
Clip from Les Mistons
The goonies.
Clip from Petite Lumiere - Alain Gomis.
How we create a universe contrary to our actual one.
5. 5
It’s pure cinema, it allows us to enter in to her head.
The contrast bewteen snow and sand.
Clip from Modern Times -
Playing at being rich in the big store, when they’re totally skint.
LA Story - the art gallery bit
Playing at being rich is the bedroom bit, but before that it’s a game of dizziness. When we’re not
conscious of the danger he’s totally at ease, the minute he realises that he’s in danger he can’t perform
as well at all.
Vertige - it’s to do with height. About the up and down.
Quote from Winnicotte. Which I missed, sorry.
The playpark games which allow you to experience the vertical. Instability of perception.
Labyrinths and other things, which are more visual than cinematic, but they work very well for
film. Things which alter or hide aspects of perception.
Clip from Lumier Bros – Blanket
Throwing a fellow up in a blanket.
The weird man in the corner shouting.
Clip from 400 Blows - wall of death
It’s fascinating because of the chioce of shots.
6. 6
His choice lets us feel what he’s feeling.
Truffaut plays a lot around the idea of what’s inside Leau’s head.
It recalls the Zoetrope.
Clip from The Flowers of St Francis
Spinning, and where you fall decides the direction in which you must travel.
The contrast between extremely serious people and silly things deciding their fate.
It’s a game of spinning and dizziness, but also a game of chance.
The innocence of the community and the innocence of their play.
How they prepare their food is also part of their play.
They play constantly. They rest in a state of innocence.
It’s a sequence that we know well, but it’s worth looking at.
Clip from The Little Fugitive
On the roundabout.
Game within the game.
The Labyrinth from the shining is perfect.
7. 7
Clip from The Circus - hall of mirrors
The following of rules within games.
The way he plays at being the moving statue.
Clip from Partie de Compaigne – Swing scene
Blackbird by Norman McLaren played in full
The metaphorical notion of play in this, how it’s tied in to the filmakers manipulation of the things on
screen.
When we Truffaut shows us how Leau feels it’s based in reality, but with animation it’s beyond that.
Clip from the Shining
The moment with the ball in the main hall – to the maze.
There’s two levels of play - the child and mother lost in the maze and then the paranoid play of the
director.
How the maze is shown from above. From Jack’s perspective. The play between the model and the
reality. Which is the opposite of the way he plays with ball.
Moving on to another Category which is separate from the 4 identified.
Play between adults and children.
Games of apprenticeship - where the child learns from the adult by way of play.
8. 8
Clip from Nanouk of The North
We learn from doing something in miniature.
The clip of the boy and bow.
The contagion of play from the world of children to adults and vice versa.
Clip from You Can’t Take it With You
The Fisher King - elements of play / Robin William’s approach.
The contrast between what Jimmy Stewart is talking about, the loss of hope, his growth as an adult,
and then that bubble is popped by the arrival of children with whom they dance, and then the policeman
pops that bubble too, returning them to the world of adults.
Clip from The Royal Tennenbaums
The Grandfather leading the children off the track. It’s the reverse of the previous clip.
Wonderful.
Clip from End of the Mass / The mass is over by Morretti
Where the priest plays football with the children.
An adult entering the world of children.
Ozu all looks at how the children and adult worlds collide.
9. 9
Clip from Dernier Caprice - Ozu
The game of doing something and not being seen. The observer doesn’t notice, but each time it
changes.
Marco-Polo
Games to cover another thing, here the grandfather trying to sneak out.
It’s a double game, as he’s playing hide & seek, but he’s also got his own agenda of trying to dash out
unnoticed.
It would be brilliant to classify the clips in terms of their games, such as with a ball, to create a database
of the clips so that you get unexpected links emerging between the categories.
Two examples now on something else, but in the same world.
Clip from Lumiere Bros - the snowball fight
The adults are rarely serious in these clips.
The roles of the people in the clip are interesting. They appear to be bourgeois, and formal, but yet
here they are - playing like children.
Clip from Les Deux Anglaises…
By Truffaut.
Truffaut loves to do mime things.
10. 10
Forfeits of games.
Deciphering games where the rules aren’t explained.
It’s once more about suicide. Oh joy.
Talks about where they have to get warm by being helod close together.
Games that allow you to transgress codes of behaviour that would otherwise be forbidden.
Clip from the Great Dictator
The globe scene.
The object - the world. He wants to be alone in his delirium.
Clip from The end of Bunny Lake is Missing
There’s a psychotic unhingement.
I don’t know if we could show this because of the representation of mental health, it’s not entirely
balanced…
The camera movement showing the unhinged nature of the character’s perspective.
They work around through all the different games and playthings - the swing / hide & seek.
11. 11
Coming out of the register of everyday life.
Clip from Fleur Maigre.
The children speak between languages, their accents mixed.
Collection of beasties.
Children playing with the very minimum to make the most out of it, whilst an adult explains the bleak
nature of their situation to a child.
It allows a commentary on the situation, the miners out of work etc.
Here’s another along the same lines - the world of work.
Clip from En Construction by Guerin
Children play at being builders in a real site.
I think this is really interesting. This is how we played as children. The making of dens, etc.
The contrast with the real work.
Making the toboggan.
The liminal imaginary / real space. It’s making a fictitious place out of a real situation / location.
Now lets look at how children play with the real, more dangerous world.
Clip from Spirit of the Beehive
12. 12
The trainline with the children. Get away from the line!
Clip from Mon Oncle
The man child that is Hulot, the chaos that he brings to the world, he contaminates an adult world with
child like chaos,
Freedoms & Transgressions.
In terms of play it’s not always about freedom.
Play can also be a representation of learning how society works how people interact.
The great example of this is the playground.
How children play in the playground.
This is a clip from Claire Simon
The games are unregulated, they’re spontaneous and of the moment.
In the mean time, here’s a word from our sponsors…
Clip from Recreations
Dropping things down holes.
Manually moving people in to the positions you want them in. Directing your own ‘play’.
Immediate passions and responses in younger children.
It’s quite a full on clip, isn’t it - he says.
The dynamic of the group. The social dynamic defining itself.
13. 13
The symbolic value of an object. In this case it’s the little bits of twig. If someone touches them he
goes totally mental at them. They’re so significant for him. They’re invested with meaning and value.
They can be everything.
Gathering as many as he can is his aim.
Games that talk more of the bigger picture rather than the smaller situation. Games of societal
apprenticeship.
Games which liberate the body and societal pressure.
Clip from L Ete de Giacomo
He’s a deaf boy, who’s a bit unusual a bit out of the normal. Ah yes, we see that.
Sensational things - things that create a sensational response in the viewer.
The assumption of the character of an animal. Something that allows you to transgress the norm.
This is a tricky category. It’s very uneasy. Painful duration of the clip.
Water is often a freeing space, the body can move otherwise than in the air. It frees it.
He’s freer than her. He can do all sorts of forbidden things - but then he also knows when a line has
been crossed.
It’s the filmmakers brother, so it’s a very clear cut relationship that allows this to happen.
Throwing the blobs of sand, all that.
14. 14
Clip from Mustang
Boys playing. Things that they’re doing outside of the knowledge of their parents.
This is the opening of the film, which we interpret as freedom, and then the film comes in properly and
stifles all the freedoms. Reality comes in and takes over.
After this scene the parents find out what happens. And they get shut in to their rooms etc.
This moment of play, this innocent moment of play in another culture, leads to major repercussions in
this culture.
The ability to talk about things that we can’t talk about in reality, that we don’t have the chance to talk
about.
Clip from Fanny & Alexander
What’s funny is the contrast between the two scenes. The clash of the two.
And again the idea of contagion, the uncle has infected the atmosphere. (Quite literally).
And who is it that pays for the transgression - it’s the maid.
The notion of the result of a transgression. It’s not an isolated event it has consequences.
Clip from Zero de Conduite
Freedom and expression. The body in space.
The sound is vital in this. The music becomes very odd. It’s not normal. It’s part of the transgression.
15. 15
In the play it is possible to have social learning, social mirroring and the representation of social
anarchy.
Clip from Slumdog Millionaire.
This is a short clip but it’s really full of play elements.
It was a flashback. It’s got so much in it. There’s all the heights things, there’s a pursuit by the police,
but yet it’s the mother who has the most power. He bows down to her power. Frustrated, but he won’t
cross that line.
Questions from the floor about the topic
How about some suggestions?
It’s a huge area of investigation. It brings to life so many things. The body, the body in space, in play.
It’s profoundly rich.
Talking about Winnicott who says that sexuality kills play - so how come there are clips with sexuality in
them here?
Aye, its true but the films sanction an end to sexual things. They’re never seen through. They are
broken.
Sexual excitement is another register, it’s not about play, what we have here is not that, it can ‘rub
against’ it, but it’s not that exactly. There’s a space.
[Tricky, I think].
Play as a right of passage.
16. 16
He identifies certain games. Like playing doctor.
In Nanouk the child playing with the bow acts as an act of initiation. It brings the child in to hunting by
way of play.
Talks about war, too.
The distinction between game & play - please give us a bit more on that.
Game is pure game - where you can’t break the rules. The two clips at the start they’re like that.
Where the rules of the game are more improtant than playing that’s where its a Game.
Play is more free.
Play - no rules - free imagination.
The gap between the two is very large, and full of other definitions and classifications.
In my opinion if there’s Play there needs to be a basis in reality. In screens there’s no reality - except
Pokemon Go - it’s a mix of reality and play. [He’s a level 56 Pokiemaster. Not True]
It’s to do with space. The play in space.
Electronic games becoming play in the real world.
The player plays with a device. The word PARANOIAC needs a bit more translation, sorry. There’s a
level of subtlety I’m not quite getting there.
Video games are totally forbidden in this work.
He hates von Trier’s earlier work, It’s nasty. He thinks he belittles his actresses just for the hell of it.
We’ve not really seen many examples where the director plays.
17. 17
Alain says there are loads, but the problem is that in terms of what we’re doing - we can’t show three
full feature films. Pierrot Le Fou is bound up with the duration of the film. It just takes up too much time,
too much by far. There’s so much more to look at.
I could have used P le Fou to show you all 4 categories of play, but then what can we do with that in
terms of an educational project?
We’d need to watch the whole film to get it. And that would just gobble up all our time.
Goddard says that cinema is principally a game.
Les Filles Au Moyen Age is a film to have a look at.
Video games and representations of video games in young people’s films. They’re banned this
year. No film to have anything like that thank you.
Kaisa asked if there’s any film specifically to watch this year. Alain says… there’s lots of bits in lots of
films.
Casino has things in it.
But no one film to watch.
Play often provides the brackets in between which action happens.
Have a look at:
Roger Caillois: The Definition of Play, The Classification of Games
Jiburo is a film worth having a look at. Isa mentions this.
------------------------
The RULES OF THE GAME
18. 18
Nathalie reads the rules.
No games with computers or phones, please. Not at all.
I wish you were all closer, this would be easier. I’ll try to do this quickly.
1 - An individual exercise. Choose a game that you like. Film it in a documentary manner. Just show
us it in operation. This game can be played by one or more children, it can be a whole game or just a
moment of a game. It must be a maximum of 2 minutes in length and consist of one shot only.
2 - in small groups.
2 children thrown out of a class by the teacher. They are put in to a small space. They make a game
out of what they find there. Their bodies, the space and objects in that space. 2 mins max / one shot
or several shots, it’s up to you.
3- Again in a small group.
One person looses their spatial recognition - they get dizzy or whatever. This is reflected in the acting
and the way it is filmed.
Film the character and the sensations that they are experiencing.
2 mins max with montage (as many shots as appropriate).
Final Film
Make a film where the the story is interrupted at a certain moment, when a character finds their
freedom through playing which allows them to escape from the confines of their everyday reality.
It allows them to fork off from their reality.
Music, sound, space, montage is all a part of this, they have major importance in the delivery of this.