Introduction to 2014/15 edition of 'Le Cinema Cent Ans De Jeunesse', international film education programme led by Cinematheque Francaise

1. +
Cinema cent ans de jeunesse
2014/15
Mark Reid BFI
L’Intervalle
or spaces,
spacing,
gaps

2. +
The 4 types of
space
Intimate
Personal
Social
Public

3. +
A Typology of Spacing in Cinema
 Ruptures and Separations
 Spaces maintained by desire
 Metaphysical and metaphorical
 Different cultures: east Asian
spacing
 ‘Them and us’: spaces between
viewer and story
 Two-shots

4. +
Separations
Between Us, Christensen/ Mork, UK, 2004
Girl with a Suitcase, Italy, Zurlani, 1961
The Kid, Chaplin, US, 1921
Bridges of Madison County, Eastwood, US,
1995
L’Argent de Poche, Truffaut, France, 1976
Two Cars, One Night, Waititi, NZ, 2003
Kikujiro, Kitano, Japan, 1999

5. +
Separations (Primary)
Between Us, Christensen/ Mork, UK,
2004
The Kid, Chaplin, US, 1921
L’Argent de Poche, Truffaut, France, 1976
Two Cars, One Night, Waititi, NZ, 2003
Kikujiro, Kitano, Japan, 1999

6. +
Attraction, Desire,
Space
Shara, Kawase, Japan, 2003
Girl with a Suitcase ♯1, Zurlani, Italy, 1961
Greed, von Stroheim, US, 1924
Short Film About Love, Kieslowski
The Awful Truth, McCarey, US, 1937
Through the Olive Trees, Kiarostami, Iran, 1994
Kikujiro, Kitano, Japan, 1999

7. +
Attraction, Desire,
Space (Primary)
Shara, Kawase, Japan, 2003
Greed, von Stroheim, US, 1924
Through the Olive Trees, Kiarostami, Iran, 1994
Kikujiro, Kitano, Japan, 1999
Two Cars, One Night, Waititi, NZ, 2003

8. +
Metaphysical, Critical,
and Metaphorical
Barry Lyndon , Kubrick, UK-US, 1975
Three Times, Hou-Hsiao Hsien, Taiwan, 2005
L’Atalante, Vigo, France, 1934
Utamaro, Mizoguchi, Japan, 1946
Meek’s Cuttoff, Reichardt, US, 2010

9. +
Two-shots
Little Shop of Horrors, Oz, US, 1986
Woman Next Door, Truffaut, France, 1981
Miss Oyu, Mizoguchi, Japan, 1951
L’Avventura, Antonioni, Italy, 1960
Moonrise Kingdom, Anderson, US

10. +
Them and Us
Gravity, Cuaron, 2014
Stalker, Tarkovsky, Russia, 1980
Spirit of the Beehive, Erice, Spain, 1973
Summer with Monika, Bergman, Sweden,
1953

11. +
(East) Asian Spaces
Three Times, Hou H Hsien, Taiwan, 2005
Examining Mizoguchi’s Staging
Kikujiro, Kitano, Japan, 1999
Miss Oyu, Mizoguchi, Japan, 1951

12. +Exercise 1
In this exercise you will take 3 photos of the same subject taken
at 3 different distances. Place two actors in a room, 7 meters
apart from each other, both facing the camera. Take your first
photo from as close as your camera will allow, keeping the head
and shoulders of the person closest to you in shot and in focus,
whilst keeping the actor in the back ground in shot. Take your
second photo from the middle of your zoom length, making sure
to keep the head and shoulders of the person closest to you in
the same place in the frame as in the last photo, in the same
place in the frame as in the last photo also keeping them in
focus. We must also see the second actor in the shot. Take your
third photo from as far away as your camera will allow, again
keeping the head and shoulders of the person closest to you in
shot and in focus in the same place in the frame as in the last
two photos, whilst keeping the actor in the background in shot.
This exercise allows us to explore how the modification of focal
length affects our perception of the interval, or space, between
characters. Be careful only to use optical zoom with this
exercise, avoid digital zoom.

13. +
Three sample shots for Exercise 1: same distance between subjects,
but focal lengths are telephoto, mid focus, and wide angle
Ferris Bueller’s Day Off, Hughes, US, 1986
Miss Oyu, Mizoguchi

14. Four sample shots for Exercise 1: same distance between
subjects, but lenses are telephoto, mid range, and wide
angle

15. Three sample shots for Exercise 1: same distance between
subjects, but lenses are telephoto, mid range, and wide
angle

16. +
(Optional, or alternative)
Exercise 1
Take four shots, or stills, of the four kinds
of Physical Space: Intimate, Private,
Public, Social. These can be found, shot
as ‘Lumiere Minute’ style pieces, or
created dramatically.

17. +Exercise 2
In this exercise you will film a shot of a character
in 2 different ways from the same camera
position. ! Place a character in the frame so that
we can see their whole body. Facing the camera
they see something or someone coming
towards them from off camera, out of the
frame. They step closer and closer toward the
camera in order to better see the object or
person coming towards them.
Film the first shot from a wide angled
perspective. Film the second shot with the
camera zoomed in to your own preference.

18. +
Exercise 3
Film the following scene in three different
ways: 1. A static long take 2. A moving long
take 3. Using montage, cut and edit a
sequence of shots together
The scene is as follows: Character A passes
something to character B which produces a
tension between them, leading to their
separation. The only thing that can change
between the versions is the actors, keep the
same story and location. Keep all dialogue to
a minimum. The scene should last 1-2
minutes max.

19. +
(Optional, alternative)
Exercise 3
Take the scene from Miss Oyu, featuring the
man and woman arguing. Play without
subtitles, and ask students to script the
exchange. Have them block out a version of the
scene between two of them, in a familiar space
– in school. Shoot the scene using the same
blocking and camera moves as Mizoguchi, but
with the new dialogue.

20. +
Film Essai
Group Film Make a short film lasting 6 - 7
minutes which contains the following sequence:
A character is drawn in to a situation that makes
them envious, involving 2 or 3 characters. They
then distance themselves from the scene. They
then meet another character. In the film the
audiences’ emotional response should be
brought about by the visual and aural spacing,
or intervals, between the characters and
between the characters and the camera:
Moving closer to each other; pulling away from
each other; placing objects between the
characters; placing objects between the camera
and the characters.
6-7 minutes long