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The document discusses several techniques used to transition from theater to cinema, including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage presents each new character sharply on their first appearance so their role is clear. Dialogue can sharpen characters by interlacing two conversations. The document also references elements borrowed from theater like music and scale that filmmakers adapted for developing stories and characters through cinema.
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Through Theatre to Cinema
This document discusses various cinematic techniques including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage provides a specific approach to events through a character's traits, drawing from commedia dell'arte. Dialogue can sharpen characters when two dialogues intersect. The document advocates for the story in film rather than being against it, and provides some examples of these techniques in early films and their origins in theatre.
Through theatre to cinema
The document discusses various techniques used to transition from theatre to cinema, including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage presents each new character sharply on their first appearance to define their role. Dialogue can sharpen characters when two dialogues intersect. The document also references elements borrowed from theatre, such as commedia dell'arte and music hall, that were adapted for film techniques.
Through theatre to cinema (1)
The document discusses various techniques used to transition from theatre to cinema, including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage presents each new character or figure sharply on their first appearance to define their role. Dialogue can sharpen characters when two dialogues intersect. The document also mentions elements carried over from theatre to film, such as music-hall performances, and debates the role of stories in cinema.
Silent film
Silent films were typically shot between 16 to 23 frames per second depending on the year and studio, with 16 becoming most common. Silent film actors relied heavily on body language and facial expressions since there was no sound or dialogue. Live music was almost always played during screenings of silent films to provide emotional cues for audiences. Silent comedy developed as a distinct acting style to bring humor to the silent film medium before synchronized sound was possible and still influences comedy today. Subtitles were commonly used in silent films to convey dialogue and explain the context of scenes.
Stage 9 uploaded
The document outlines three filming locations for a music video: Bournemouth beaches for close-ups, lip syncing shots, and concepts; Linford Bottom for conceptual shots to fill gaps in lyrics; and Splashdown for more conceptual shots when no singing occurs. Traveling shots from a car will also be taken to connect the different locations without seeming random.
Silent cinema(2)
Silent films relied heavily on exaggerated acting and facial expressions to convey emotion and comedy to audiences without sound. Intertitles were used to provide context and dialogue. Music was an essential part of silent films and was used to set the tone and pace of different scenes. Actors emphasized body language and facial expressions so audiences could understand feelings and portrayals on screen. Color tinting and toning of films was also used to provide mood and meaning. Examples of silent films from the early 20th century are provided.
1980s – Graphic Design histories
The document discusses graphic design and visual art trends from the 1980s. It mentions the emergence of digital "New Typography," avant-garde magazines like "Mediamatic" focusing on techno-culture, and Peter Saville incorporating 19th century painting into his designs. It also notes milestones like the first use of computer morphing in the film "Willow" and the beta testing of Photoshop by designers.
Story board
The document provides descriptions of potential scenes and shots for a music video. The scenes include a ballerina dancing in a studio, an actress applying makeup and looking distressed, a woman singing as she walks down the street, the actress sitting by a window and singing, and the actress lying on the floor singing. Other scenes involve the actress swinging on a swing, walking in a field, sitting alone at an empty table, animations, a scrunched up piece of paper, photos of the actress posing with a heart, and a burning letter that sends a man packing. The scenes showcase the actress singing and emoting in various settings and poses.
Recommended
Through Theatre to Cinema
This document discusses various cinematic techniques including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage provides a specific approach to events through a character's traits, drawing from commedia dell'arte. Dialogue can sharpen characters when two dialogues intersect. The document advocates for the story in film rather than being against it, and provides some examples of these techniques in early films and their origins in theatre.
Through theatre to cinema
The document discusses various techniques used to transition from theatre to cinema, including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage presents each new character sharply on their first appearance to define their role. Dialogue can sharpen characters when two dialogues intersect. The document also references elements borrowed from theatre, such as commedia dell'arte and music hall, that were adapted for film techniques.
Through theatre to cinema (1)
The document discusses various techniques used to transition from theatre to cinema, including montage, typage, and dialogue. Montage involves combining photo fragments in various ways. Typage presents each new character or figure sharply on their first appearance to define their role. Dialogue can sharpen characters when two dialogues intersect. The document also mentions elements carried over from theatre to film, such as music-hall performances, and debates the role of stories in cinema.
Silent film
Silent films were typically shot between 16 to 23 frames per second depending on the year and studio, with 16 becoming most common. Silent film actors relied heavily on body language and facial expressions since there was no sound or dialogue. Live music was almost always played during screenings of silent films to provide emotional cues for audiences. Silent comedy developed as a distinct acting style to bring humor to the silent film medium before synchronized sound was possible and still influences comedy today. Subtitles were commonly used in silent films to convey dialogue and explain the context of scenes.
Stage 9 uploaded
The document outlines three filming locations for a music video: Bournemouth beaches for close-ups, lip syncing shots, and concepts; Linford Bottom for conceptual shots to fill gaps in lyrics; and Splashdown for more conceptual shots when no singing occurs. Traveling shots from a car will also be taken to connect the different locations without seeming random.
Silent cinema(2)
Silent films relied heavily on exaggerated acting and facial expressions to convey emotion and comedy to audiences without sound. Intertitles were used to provide context and dialogue. Music was an essential part of silent films and was used to set the tone and pace of different scenes. Actors emphasized body language and facial expressions so audiences could understand feelings and portrayals on screen. Color tinting and toning of films was also used to provide mood and meaning. Examples of silent films from the early 20th century are provided.
1980s – Graphic Design histories
The document discusses graphic design and visual art trends from the 1980s. It mentions the emergence of digital "New Typography," avant-garde magazines like "Mediamatic" focusing on techno-culture, and Peter Saville incorporating 19th century painting into his designs. It also notes milestones like the first use of computer morphing in the film "Willow" and the beta testing of Photoshop by designers.
Story board
The document provides descriptions of potential scenes and shots for a music video. The scenes include a ballerina dancing in a studio, an actress applying makeup and looking distressed, a woman singing as she walks down the street, the actress sitting by a window and singing, and the actress lying on the floor singing. Other scenes involve the actress swinging on a swing, walking in a field, sitting alone at an empty table, animations, a scrunched up piece of paper, photos of the actress posing with a heart, and a burning letter that sends a man packing. The scenes showcase the actress singing and emoting in various settings and poses.
Sing stree mirco analyse
The document provides analysis of key scenes from the film Sing Street. It summarizes the use of mise-en-scene, cinematography, sound, and editing in two scenes: 1) Conor's first day arriving at his new school, where uniforms and camera movements convey his feelings of being an outsider. 2) Conor's band's performance, where costume and lighting choices enhance the mood and reality differs from Conor's fantasy of the concert. The analysis examines how technical elements are used to tell the story and develop characters.
Silent Cinema
The document discusses several aspects of silent films from the early days of cinema. It notes that silent films were reproduced at 16 frames per second, slower than the 24 frames per second needed for completely realistic movement, resulting in slight interruptions that slowed the pace. To counter this, films were sped up slightly. It also discusses the use of subtitles to convey dialogue, overacting by actors to express emotion and stories visually, the role of live music in setting the mood and helping audiences follow plots, and theatrical makeup techniques used to accentuate facial features and convey different emotions or tones.
8.) Power Point Presentation
I have chosen videos from Muse, Air Traffic, and Rise Against, as their music video appealed a lot to me.
Repitch
The document outlines plans for an indie band's music video. It will tell the narrative of a girl who feels insecure about her appearance until her reflection comes to life and destroys her sense of self, at which point she overcomes it. The video will have two parts, a narrative shot indoors in a dark, gritty style, and a performance-based section in a basic room. It aims to synchronize music and visuals using techniques like close-ups and smashing a mirror, and appeal to fans of similar artists.
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The music video for Foo Fighters' song "The Pretender" features the band performing in a large empty warehouse. Approximately halfway through the video, riot police dressed in full gear enter and splash colored water resembling blood around the setting. The video uses different camera shots and edits the cuts between band members to match the tempo of the song. It tells a small story alongside primarily focusing on the band's live performance.
Jushna Group initial ideas for opening scene & title sequence (3)
The opening scene/title sequence will cross cut between two locations, an art exhibition where the protagonist is viewing and presenting work, and a dark room where the antagonist is developing photographs of his victims. Shots will alternate between the two locations, with titles gradually appearing throughout. The sequence will parallel edit between portraits at the art show and black and white photographs developing in the dark room, building tension through close ups, slow motion, and musical score, until finally revealing matching horrific paintings by the protagonist and photographs by the antagonist.
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This document outlines various codes and conventions commonly used in music videos. It discusses elements like camera work, mise-en-scene, editing, lighting, color schemes, props, performance styles, themes, dance routines, modes of address, and depictions of gender. Different genres like rock, pop, hip-hop, and indie tend to utilize certain techniques and aesthetics over others.
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The treatment sheet provides details on the cinematography, lighting, camera work, and performance for a music video of Florence + The Machine's "Cosmic Love". It outlines using linear and parallel narratives to tell the story of the protagonist Hayley. Dark lighting and locations like the beach and church will be used to create a gothic style. Various camera shots like medium, close-up, and hand-held will showcase Hayley's performance and emotions. Her dancing will represent the song while establishing her image as the star.
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This document provides information about a film analysis class that is studying concepts of film language, including narrative, cinematography, and mise-en-scène. It informs students that they will be viewing the Coen Brothers film "Raising Arizona" in class to analyze how it achieves a "live-action cartoon" visual style through mise-en-scène techniques. Students are instructed to pay attention to the filmmakers' decisions that create the madcap, crazy comedy style and complete a scene analysis worksheet that is due at the next class, where they will analyze a specific scene in more detail.
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Eloise wants to create a music video for her song "ALL CRIED OUT" about getting over a breakup. She analyzes other similar music videos that incorporate friends, performances directly to the camera, dancing, fashion, narratives and singing. Her idea is to tell the story of a girl getting through a breakup with help from her friends. The video will include performances in different locations with fast edits and use of projections to represent her changing emotions. It will show her sadness looking at photos of her ex initially, then her friends cheering her up as she realizes she's "all cried out" over the boy.
Pitch task 3 group 12
Eloise wants to create a music video for her song "ALL CRIED OUT" about getting over a breakup. She analyzed other similar music videos and noticed conventions like using friends, performances directly to the camera, dancing, fashion, narratives and singing. Her idea is to tell the story of a girl getting through a breakup with help from her friends. The video will include performances in different locations with fast edits and projections to represent her emotions. It will show her sad in her bedroom looking at old photos online but her friends cheer her up. Later she feels confident singing to the camera while destroying photos, showing she's over him.
Presentation4
The document discusses the development of a music video. Scenes of the artist performing were filmed in front of a green screen and later edited with different background images. Additional scenes showing the artist's everyday life were filmed in black and white to represent memories. Towards the end, the theme changes from black and white to color to represent a change in the artist's state of mind. Different camera techniques like close-ups and handheld shots were used to set the location and provide realism.
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The music video shows various shots of Lil Wayne singing and expressing emotion through hand gestures and facial expressions. Red paint is used as a prop to represent death. Both Lil Wayne and Bruno Mars are featured creating art in a studio setting lit with bright lights, as red paint is splashed around them. The video cuts between close-ups and longer shots to tell a narrative that relates to the lyrics and mood of the song.
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The document provides lyrics and descriptions of shots for a music video over a 3 minute and 19 second period. It follows an artist singing about a former romantic partner who was silver-tongued and caused the relationship to crumble. Shots include close-ups of the artist singing, mid-shots of a girl, and long shots of the full band playing. Towards the end, the artist sings the last lines looking up with a serious expression before walking away, possibly ending with a shallow focus shot.
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Eisenstein was surprised by the techniques used in Japanese Kabuki theater that were similar to film techniques like montage. He admired how Kabuki actors would perform "mechanical cuts" by pausing and changing their emotional intensity or focusing different body parts to intensify drama. Eisenstein saw this as an early form of montage editing and believed it demonstrated how movements could be "heard" and sounds could be "seen" like in cinema, relating his film experience to elements of Kabuki performance.
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The document provides analysis of key scenes from the film Sing Street. It summarizes the use of mise-en-scene, cinematography, sound, and editing in two scenes: 1) Conor's first day arriving at his new school, where uniforms and camera movements convey his feelings of being an outsider. 2) Conor's band's performance, where costume and lighting choices enhance the mood and reality differs from Conor's fantasy of the concert. The analysis examines how technical elements are used to tell the story and develop characters.
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The document discusses several aspects of silent films from the early days of cinema. It notes that silent films were reproduced at 16 frames per second, slower than the 24 frames per second needed for completely realistic movement, resulting in slight interruptions that slowed the pace. To counter this, films were sped up slightly. It also discusses the use of subtitles to convey dialogue, overacting by actors to express emotion and stories visually, the role of live music in setting the mood and helping audiences follow plots, and theatrical makeup techniques used to accentuate facial features and convey different emotions or tones.
8.) Power Point Presentation
I have chosen videos from Muse, Air Traffic, and Rise Against, as their music video appealed a lot to me.
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The document outlines plans for an indie band's music video. It will tell the narrative of a girl who feels insecure about her appearance until her reflection comes to life and destroys her sense of self, at which point she overcomes it. The video will have two parts, a narrative shot indoors in a dark, gritty style, and a performance-based section in a basic room. It aims to synchronize music and visuals using techniques like close-ups and smashing a mirror, and appeal to fans of similar artists.
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The music video for Foo Fighters' song "The Pretender" features the band performing in a large empty warehouse. Approximately halfway through the video, riot police dressed in full gear enter and splash colored water resembling blood around the setting. The video uses different camera shots and edits the cuts between band members to match the tempo of the song. It tells a small story alongside primarily focusing on the band's live performance.
Jushna Group initial ideas for opening scene & title sequence (3)
The opening scene/title sequence will cross cut between two locations, an art exhibition where the protagonist is viewing and presenting work, and a dark room where the antagonist is developing photographs of his victims. Shots will alternate between the two locations, with titles gradually appearing throughout. The sequence will parallel edit between portraits at the art show and black and white photographs developing in the dark room, building tension through close ups, slow motion, and musical score, until finally revealing matching horrific paintings by the protagonist and photographs by the antagonist.
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This song tells the story of a romance that ends tragically in a car accident. The music video depicts the dead couple reliving and contemplating how they lived their lives. Several shots are used to convey this retrospective mood, including a long shot of Adele walking that suggests reflection, and high angle shots that give a sense of looking down on the scene of one's death. An unusual opening shot shows the woman's body after being hit by the car, catching the audience's attention and setting the theme that life can end unexpectedly so one shouldn't have regrets.
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The document discusses filmmaking techniques used by director Martin Scorsese. It notes Scorsese's use of slow motion shots and smoke/mist effects in both Raging Bull and Taxi Driver. While Raging Bull features harmonic music during boxing scenes, Taxi Driver features jazz music. Both films are set in New York City and feature Robert De Niro as the lead actor. The characters exist within their own isolated worlds. The document also discusses Scorsese's use of voiceover and shifts between diegetic and non-diegetic sound to introduce a character's depressed and happy states in another unspecified film.
Rehearsing artaud
The document provides background information on Antonin Artaud and his theatrical theories of the Theatre of Cruelty. It discusses his rejection of realism and desire to use shocking, visceral techniques including gestures, sounds, and masks to overwhelm the senses of audiences and force them to confront new ideas. It also describes some of the influences on his theories and provides examples of exercises aimed at enacting his revolutionary vision of physical, non-verbal theatre.
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This document outlines various codes and conventions commonly used in music videos. It discusses elements like camera work, mise-en-scene, editing, lighting, color schemes, props, performance styles, themes, dance routines, modes of address, and depictions of gender. Different genres like rock, pop, hip-hop, and indie tend to utilize certain techniques and aesthetics over others.
Treamentsheet 1
The treatment sheet provides details on the cinematography, lighting, camera work, and performance for a music video of Florence + The Machine's "Cosmic Love". It outlines using linear and parallel narratives to tell the story of the protagonist Hayley. Dark lighting and locations like the beach and church will be used to create a gothic style. Various camera shots like medium, close-up, and hand-held will showcase Hayley's performance and emotions. Her dancing will represent the song while establishing her image as the star.
FILM 100: Raising Arizona Intro
This document provides information about a film analysis class that is studying concepts of film language, including narrative, cinematography, and mise-en-scène. It informs students that they will be viewing the Coen Brothers film "Raising Arizona" in class to analyze how it achieves a "live-action cartoon" visual style through mise-en-scène techniques. Students are instructed to pay attention to the filmmakers' decisions that create the madcap, crazy comedy style and complete a scene analysis worksheet that is due at the next class, where they will analyze a specific scene in more detail.
Pitch task 3
Eloise wants to create a music video for her song "ALL CRIED OUT" about getting over a breakup. She analyzes other similar music videos that incorporate friends, performances directly to the camera, dancing, fashion, narratives and singing. Her idea is to tell the story of a girl getting through a breakup with help from her friends. The video will include performances in different locations with fast edits and use of projections to represent her changing emotions. It will show her sadness looking at photos of her ex initially, then her friends cheering her up as she realizes she's "all cried out" over the boy.
Pitch task 3 group 12
Eloise wants to create a music video for her song "ALL CRIED OUT" about getting over a breakup. She analyzed other similar music videos and noticed conventions like using friends, performances directly to the camera, dancing, fashion, narratives and singing. Her idea is to tell the story of a girl getting through a breakup with help from her friends. The video will include performances in different locations with fast edits and projections to represent her emotions. It will show her sad in her bedroom looking at old photos online but her friends cheer her up. Later she feels confident singing to the camera while destroying photos, showing she's over him.
Presentation4
The document discusses the development of a music video. Scenes of the artist performing were filmed in front of a green screen and later edited with different background images. Additional scenes showing the artist's everyday life were filmed in black and white to represent memories. Towards the end, the theme changes from black and white to color to represent a change in the artist's state of mind. Different camera techniques like close-ups and handheld shots were used to set the location and provide realism.
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The music video shows various shots of Lil Wayne singing and expressing emotion through hand gestures and facial expressions. Red paint is used as a prop to represent death. Both Lil Wayne and Bruno Mars are featured creating art in a studio setting lit with bright lights, as red paint is splashed around them. The video cuts between close-ups and longer shots to tell a narrative that relates to the lyrics and mood of the song.
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The document summarizes and reviews a music video by the band Aiden. It notes that while their videos have had low budgets, they effectively represent the band's genre and style. This particular video uses a monochrome black-and-white filming style that adds artistic flair and represents the band's interests. The narrative switches from black-and-white to desaturated color when the performance begins, giving it a film-like quality. Close-ups are used throughout to focus on the band members' performances.
Final script
The document provides lyrics and descriptions of shots for a music video over a 3 minute and 19 second period. It follows an artist singing about a former romantic partner who was silver-tongued and caused the relationship to crumble. Shots include close-ups of the artist singing, mid-shots of a girl, and long shots of the full band playing. Towards the end, the artist sings the last lines looking up with a serious expression before walking away, possibly ending with a shallow focus shot.
The unexpected
Eisenstein was surprised by the techniques used in Japanese Kabuki theater that were similar to film techniques like montage. He admired how Kabuki actors would perform "mechanical cuts" by pausing and changing their emotional intensity or focusing different body parts to intensify drama. Eisenstein saw this as an early form of montage editing and believed it demonstrated how movements could be "heard" and sounds could be "seen" like in cinema, relating his film experience to elements of Kabuki performance.
The unexpected
Eisenstein was surprised by the techniques used in Japanese Kabuki theater that were similar to film techniques. Kabuki actors would perform "mechanical cuts" by pausing and changing their emotional expression or makeup to shift between emotions in an abrupt way, similar to Eisenstein's editing. He also admired how actors would fragment their performance by focusing expressions through different body parts for shorter periods, intensifying the drama. Eisenstein saw these Kabuki techniques as examples that could achieve similar effects through the camera, relating the theater experience to the development of cinema.
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1) The study explores the influence of internet usage on the social capital, community connectedness, inventive achievements, and subjective well-being of grassroots level inventors (GLIs) in Sri Lanka.
2) It finds that internet usage has a significant direct positive influence on the subjective well-being of GLIs in Sri Lanka. Internet usage also indirectly influences subjective well-being through increasing social capital and connectedness.
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Group 1 Team Project
- 1. K E L L E Y M C A N D R E W S Through Theatre to Cinema
- 2. Montage Primo: photo-fragments of nature are recorded Secundo: The photo fragments are combined in various ways Primo + Secundo = MONTAGE Nature
- 4. Real Doing & Pictorial Imagination Reactions to events The Mexican: Prize-Fight Scene Acrobatics of Expression Gesture -> Gymnastics Rage -> Somersault Lyricism -> “on the mast of death”
- 5. Typage Specific approach to events by the content of the film. Root in Theatre. An indicator of definite affinities to real life through camera.
- 6. Commedia Del’Arte & Typage Typage is the modern development of Commedia Del’Arte. Modern Film Typage is based on the need for presenting each new figure in our first glimpse of him so sharply and completely that futher use of this figure may be known as an element.
- 7. Theatrical Elements Musicians use a scale of sounds The painter scales the color of the background The writer scales a row of sounds and words
- 8. Dialogue Intersections of two dialogues sharpen characters and play, quicken tempo, and multiply the comic possibilities. The Sage Music-Hall element Flaubert: Two lines of speech are interlaced
- 9. Strike Out of mechanical fusion, form plastic synthesis, the attempt evolves into thematic synthesis. https://www.youtube.com/watch?v=jWiDciPuSW4
- 10. Down with the Story? Yes to the Story! Then, seemed to be an attack on individualism upon revolutionary cinema. The Story
Editor's Notes
- Reactions and acrobatics –pages 6 and 7
- The paragraph about this on page 15 would be good to read to class