The Single Shot
REPRESENTATION: WEEK 6
The Single Shot
Homework due NEXT WEEK (October 8):
Shoot a 1-3 minute, single shot video. Your video must include at least one character and an inciting incident. You must be prepared to talk about what/who this character is, and how the inciting incident relates. These can be as simple or as complicated as you'd like, but it must be thoughtful and well planned.
Your video can be a static shot, or you may experiment with handheld/steady cam style videography. Please only use diagetic sound (only audio that is shot in the camera). You may use whatever camera you would like: cell phone, webcam, cannon camcorder from the cage, etc.
This assignment is more daunting than it sounds, as you are responsible for developing a character, a narrative, and planning out an entirely in-camera sequence. You must think ahead, plan it out, and take multiple takes. Please come to class with your preparatory notes, sketched, and at least 3 takes. The purpose of this assignment is to challenge you to both experiment and simplify.
For next week: Bring your files (all of them!) any memory cards you used to shoot, and your laptops with Adobe Premier. We will process these files, together, in Adobe Premiere during class. Please be sure to bring your laptops with Adobe Premiere, and all of your files, next week in class.
Next week we will also talk more specifically about the Cannon you will be required to use for your next assignment, as well as other video basics.
SCREENINGS:
Edison Kinetescope FIlms (1894-189^)
Barber Shop, Feeding the Pigeons, Seminary Girls
Lumiere Brothers, Exiting A Factory, 1895
Lumiere Brothers, L'Arroseur Arrosé, 1895
Alice Guy Blache, Cabbage Fairy, 1896 (0:51)
Georges Melies, The Vanishing Lady, 1896 (1:11)
Georges Melies, After the Ball, 1897 (1:06)
Martha Rosler, Semiotics of the Kitchen, 1975 (6:09)
Adrian Piper, Cornered, 1988 (16:42)
Alex Bag, Untitled Fall '95, 1995 (1:16)/ (6:21)
Fishli and Weiss, 1987 (29:39)
Honda, The Cog, 2003 (2:01)
Panera, 2013 (3:55)
Children of Men, 2005, Directed by Alfonso Cuarón (at 3:35 mark) (3:58)
Nine Live, Diana, 2005. Directed by Rodrigo Garcia (14:21) at 12:30 in film
Russian Ark, 2002, directed by Alexander Sokurov, Final Scene (5:21)
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REPRESENTATION/VIDEO/NARRATIVE (Weeks 7-9)
CRITIQUE 2: DUE OCTOBER 22, 2013
ROUGH CUT DUE: OCTOBER 17, 2013
ROUGH CUT DUE: OCTOBER 17, 2013
A fictional, narrative video 3-5
minutes in length. Must be fictional, but based in a reality you have
experienced. Be creative, but grounded. (Some examples of
scenarios that are probably
not be grounded in your reality: drug busts gone wrong,
armageddon, attacks by zombies and/or bears, alien
abductions/surgeries, etc. Some examples that might be: making a
difficult decision, a turning point in a elationship, receiving an
unexpected message, getting lost, subtle supernatural experiences,
etc.). As with all narratives, you must include at least one
main character, and an inciting incident that marks a clear
change in your character. Establish a clear beginning, middle,
and end.
For your critique on October 22:
You must edit your video in Adobe Premiere, export
it, upload it to Vimeo, and embed the vimeo video on your blog.
Your videos must include the following
components, and they can overlap:
1) A single shot sequence of at
least 30 seconds.
2) A continuous action sequence.
Minimum: 3 shots edited together to form continuous action.
Example: Imagine three different potential shots of a car pulling
out of a driveway. You might include (1) an establishing, exterior
shot of the car in garage while the driver enters (2) close up of the
driver inserting keys and starting ignition, (3) an over the shoulder
shot of the driver backing up, and (4) a panning, wide shot of the
car backing away from the perspective of someone standing at the
front door of the house.
3) An establishing shot
followed by a medium shot and/or a close up
4) A close up of your main
character
5) An over the shoulder shot
of or over your main character
6) A static (tripod) shot
7) A dynamic (handheld, steadycam,
pan, tilt) shot
8) Titles
9) Use Diagetic sound.
NO MUSIC SOUNDTRACKS (unless it is diagetic).
10) Apply Room Tone layer
for all audio
For Next week (October 15):
bring a rough cut of your video to class.
This means:
- You must have all of your footage shot
- You have imported everything into Premiere Pro
- You have structured your timeline
- You have titles including your name, any working title, “rough cut,” the date, and duration
- Exported your video using vimeo settings with a file name that includes “rough cut” and date
We will screen your in-progress videos
in class and offer feedback. You will be expected to include the
feedback in your “final” video for the following week. Time
allowing, we will work in class.
Your final, completed videos are due
at the beginning of class on October 22, 2013. They must be
finished, uploaded to vimeo, and embedded on your blog. This will
take time, so you must plan ahead and not wait until the last minute.
You
will be evaluated based on exemplary/satisfactory/unsatisfactory use
of everything in bold.
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REPRESENTATION/VIDEO/NARRATIVE
MONTAGE (WEEK 8, October 15)
ASSIGNMENT:
CRITIQUE 2 TWIST:
Include a montage in your CRITIQUE 2
video, due next week October 22.
The montage must:
- reveal a complicating piece of information about your main character
- include new footage (can be original or appropriated)
- be at least 15 seconds*
- use an instrumental, original, or experimental soundtrack (if any). This is not a music video.
*Your video must still be within 3-5
minutes. You must also still meet all of the requirements on the
first assignment sheet, though they may overlap. Be bold in your decisions.
MONTAGE RESOURCES:
Hitchcock on Montage:
SOVIET MONTAGE
A Dialectical Approach to Filmmaking
Metric: Measured number of frames, regardless of action in shot (mechanical):
example: Scene from Eisenstein's October
Rythmic: cutting for continuity (aesthetic, narrative)
example: Eisenstein's Odessa Steps Sequence, Battleship Potemkin, 1925
Tonal: taps into the emotional quality of the shots to create a complex emotional landscape
Overtonal/Associational: combination of all of the above, moving towards abstraction to illicit emotional reactions
example: from Pudovkin's Mother, 1926
Intellectual: when shots combined, viewer forms intellectual meaning
example: Eisenstein, Strike, 1925
Apocalypse Now,
SURREALIST MONTAGE
Metropolis, Fritz Lang, 1927
Maria's dance: http://www.youtube.com/watch?v=A0D4fHieW8o
Luis Bunuel and Salvador Dali,Un Chien Andalou, 1929,
Maya Deren, Meshes of the Afternoon, 1943
Vera Chytilova, Daisies (Sedmikrásky), 1966
examples: opening credits, 53:30, 60:00, 65:00
ART VIDEO
Tracey Moffatt, OTHER, 2009
Dara Birnbaum, TECHNOLOGY TRANSFORMATION WONDER WOMAN, 1978-79
Bill Viola, Anthem, 1983
POP CULTURE
Forrest Gump: http://www.youtube.com/watch?v=QgnJ8GpsBG8
Ferris Beuler's Day Off: http://www.youtube.com/watch?v=ubpRcZNJAnE
Footloose: http://www.youtube.com/watch?v=j8XGmZ8HDIU
Trainspotting: http://www.youtube.com/watch?v=Naf_WiEb9Qs
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