Split screen is used to portray two different corresponding aspects of a scene or story line. It is usually utilised both shots in real-time.
When a ascending story arc is cascading towards the culmination of a significant plot line. Many directors have been known to practise this technique in order to apply drama to a scene.
The technique breaches the illusion that the screen's frame is a seamless view of reality, similar to that of the human eye.
My split screen production however was not to utilise these ideas and was a considerable failure. This was due to a large proportion of our film being lost during post production.
And so my computer defouled editing mishappenings and lack luckiness continues into the second term. To say anymore on this matter is a waste of time and I assume you agree entirely with my very own diagnosis that it is a considerble piece of crap.
Sunday 27 March 2011
Saturday 26 March 2011
Friday 25 March 2011
Drinking Rules
Aden, Grant, Perry and myself made a film about the tribulations of alcoholism and its affects. We were lucky enough to be granted access to the downstairs of a pub which was closed off to the public. This is where we filmed many of the required shots we were asked to produce.
We also filmed a time lapse in which I was ordered to drink three pints of lager for the good of the cause. I also had to sip on some leek and potato soup in a effort to reproduce the affects of alcohol consumption. The time limit and shot task on this production I found to be a excellent challenge, as did the rest of the team. Job done.
Black Box Work - The Collision
The Collision
Editing/Kuleshov Theory
Montage editing is compiling a compilation of unrelated shots into a certain meaning. It can be used to create a specific mood or desire of a character, or used to portray thoughts or emotions through a visual aid. The origin of this technique was Kuleshov who baffled hollywood by inventing a original persuasion in film.
His aims were political and he was purely a propagandist but his technique was aquinted enthusingly by western film makers and taken more publicly into the region via mainstream film and television. Enabling editors to interpret film capture as they saw fit. Plastering the convenience of unrelated imagery into decidedly parallel fiction and replacing it with alterations of truth.
Thursday 24 March 2011
Wednesday 23 March 2011
Julien Temple - Director, The Filth and the Fury
Julien Temple (born 26 November 1953) is an English film, documentary and music video director. He began his career with films featuring the Sex Pistols, and has continued with various off-beat projects.
Temple grew up with little interest in film until he discovered the works of French anarchist director Jean Vigo when he was a student at King's College, Cambridge. This, along with his interest in the early punk scene in London in 1976 led to his friendship with The Sex Pistols, leading him to document many of their early gigs.
His first film was a short documentary called Sex Pistols Number 1, which set out to show the rise of the band from 1976-1977 in a series of short clips from television interviews and gigs.
This led to Temple making The Great Rock And Roll Swindle, another documentary, telling the story of the band from the viewpoint of their manager, Malcolm McLaren, as band members Johnny Rotten and Sid Vicious had left. The film told of the rise of the band as apparently manipulated by McLaren and how he had shaped the band throughout their short career. Much of the 'facts' given by McLaren were disputed by John Lydon (who had dropped the Johnny Rotten name after leaving the band), who accused McLaren of using the film to attack him personally. This helped split opinion on the film as although it was praised for attempting to capture some of the punk scene of the time, it was seen as too skewed towards McLaren's vision.
Ref; Notes via Wikipedia.
Temple grew up with little interest in film until he discovered the works of French anarchist director Jean Vigo when he was a student at King's College, Cambridge. This, along with his interest in the early punk scene in London in 1976 led to his friendship with The Sex Pistols, leading him to document many of their early gigs.
His first film was a short documentary called Sex Pistols Number 1, which set out to show the rise of the band from 1976-1977 in a series of short clips from television interviews and gigs.
This led to Temple making The Great Rock And Roll Swindle, another documentary, telling the story of the band from the viewpoint of their manager, Malcolm McLaren, as band members Johnny Rotten and Sid Vicious had left. The film told of the rise of the band as apparently manipulated by McLaren and how he had shaped the band throughout their short career. Much of the 'facts' given by McLaren were disputed by John Lydon (who had dropped the Johnny Rotten name after leaving the band), who accused McLaren of using the film to attack him personally. This helped split opinion on the film as although it was praised for attempting to capture some of the punk scene of the time, it was seen as too skewed towards McLaren's vision.
Ref; Notes via Wikipedia.
Tuesday 22 March 2011
The Filth and the Fury - A Critique
The Filth and the Fury sees John Lydon and his former bandmates rewriting punk history and attempting to set the record straight, in regards to the greater swindle pulled off by McLaren: namely, his version of the Pistols' story (immortalized on celluloid in 1980's The Great Rock 'n' Roll Swindle) in which he cast himself as the architect and arch-puppeteer of punk, pulling the strings of his naive proteges Cook, Jones, Matlock, Rotten and Vicious.
Directed by Julien Temple, who also helmed McLaren's original myth-making film project, The Filth frames the tragicomedy of the Pistols with a keen sense of its cultural and historical context.
I thought this documentary was interesting historical musical document of the birth and death of a fleeting disposition in british culture. I thought the piece was long and dragging - with a wide birth trailing through and over the filthy nature of the self destructive band.
Directed by Julien Temple, who also helmed McLaren's original myth-making film project, The Filth frames the tragicomedy of the Pistols with a keen sense of its cultural and historical context.
I thought this documentary was interesting historical musical document of the birth and death of a fleeting disposition in british culture. I thought the piece was long and dragging - with a wide birth trailing through and over the filthy nature of the self destructive band.
Sunday 20 March 2011
Michael Moore - Director, Bowling for Columbine
Michael Francis Moore (born April 23, 1954) is an American filmmaker, author and liberal political commentator. He is the director and producer of Bowling for Columbine, Fahrenheit 9/11, Sicko, and Capitalism: A Love Story, four of the top ten highest-grossing documentaries of all time.
In September 2008, he released his first free movie on the Internet, Slacker Uprising, documenting his personal crusade to encourage more Americans to vote in presidential elections.He has also written and starred in the TV shows TV Nation and The Awful Truth.
Moore criticizes globalization, large corporations, assault weapon ownership, U.S. Presidents Bill Clinton and George W. Bush, the Iraq War, and the American health care system in his written and cinematic works.
Ref; Notes via Wikipedia.
In September 2008, he released his first free movie on the Internet, Slacker Uprising, documenting his personal crusade to encourage more Americans to vote in presidential elections.He has also written and starred in the TV shows TV Nation and The Awful Truth.
Moore criticizes globalization, large corporations, assault weapon ownership, U.S. Presidents Bill Clinton and George W. Bush, the Iraq War, and the American health care system in his written and cinematic works.
Ref; Notes via Wikipedia.
Friday 18 March 2011
Bowling for Columbine - A Critique
Moore's somewhat scathing documentary attempts to find answers to the question why American culture is steeped in violence and fear. The interviews that range from a bank that gives away guns to Marilyn Manson are baffling, hilarious and mildly revealing.
Moore is stubborn in his ways for answers and arrives at somewhat startling connections, for instance when visits Lockheed Martin, the world's largest weapons manufacturer, which just happens to be located in Littleton, Colorado. Standing before massive ballistic missles, the company's PR man goes on about "anger management classes," blissfully unaware of the sweet irony.
Whatever else you can say about Moore, subtle he is not. With bone-chilling panache, he cuts straight from the cries children of Columbine crying over their dead fellow classmates to a triumphant Charlton Heston, lifting a rifle over his head with the shout "From my cold dead hands!" In a hysterical animated history of America, narrated by a bullet, he links the NRA with the KKK.
I thought the documentary was very intriguing piece of film and was not one too upset his cast of unusually brilliant collection. He stood firmly within the borders of reason and unbiased reckoning.
Moore is stubborn in his ways for answers and arrives at somewhat startling connections, for instance when visits Lockheed Martin, the world's largest weapons manufacturer, which just happens to be located in Littleton, Colorado. Standing before massive ballistic missles, the company's PR man goes on about "anger management classes," blissfully unaware of the sweet irony.
Whatever else you can say about Moore, subtle he is not. With bone-chilling panache, he cuts straight from the cries children of Columbine crying over their dead fellow classmates to a triumphant Charlton Heston, lifting a rifle over his head with the shout "From my cold dead hands!" In a hysterical animated history of America, narrated by a bullet, he links the NRA with the KKK.
I thought the documentary was very intriguing piece of film and was not one too upset his cast of unusually brilliant collection. He stood firmly within the borders of reason and unbiased reckoning.
Wednesday 16 March 2011
Friday 11 March 2011
Werner Herzog - Director, The Grizzly Man
His films often feature heroes with impossible dreams, people with unique talents in obscure fields or individuals who find themselves in conflict with nature.
Herzog's films have received considerable critical acclaim and achieved popularity on the
encyclopedia entry about film-making which he says provided him with "everything I needed to get myself started" as a film-maker—that, and the 35 mm camera that the young Herzog stole from the Munich Film School.[5] In the commentary for Aguirre, the Wrath of God, he states, "I don't consider it theft—it was just a necessity—I had some sort of natural right for a camera, a tool to work with." He studied at the University of Munich despite earning a scholarship to Duquesne University in Pittsburgh, Pennsylvania.
At 14, he was inspired by an
Ref; Notes via wikipedia.art house circuit. They have also been the subject of controversy in regard to their themes and messages, especially the circumstances surrounding their creation. A notable example is Fitzcarraldo, in which the obsessiveness of the central character was mirrored by the director during the making of the film, as shown in Burden of Dreams, a documentary filmed during the making of Fitzcarraldo. His treatment of subjects has been characterized as Wagnerian in its scope, as Fitzcarraldo and his later film Invincible (2001) are directly inspired by opera, or operatic themes. He is proud of never using storyboards and often improvising large parts of the script, as he explains on the commentary track to Aguirre, the Wrath of God.
Herzog's films have received considerable critical acclaim and achieved popularity on the
encyclopedia entry about film-making which he says provided him with "everything I needed to get myself started" as a film-maker—that, and the 35 mm camera that the young Herzog stole from the Munich Film School.[5] In the commentary for Aguirre, the Wrath of God, he states, "I don't consider it theft—it was just a necessity—I had some sort of natural right for a camera, a tool to work with." He studied at the University of Munich despite earning a scholarship to Duquesne University in Pittsburgh, Pennsylvania.
At 14, he was inspired by an
Ref; Notes via wikipedia.art house circuit. They have also been the subject of controversy in regard to their themes and messages, especially the circumstances surrounding their creation. A notable example is Fitzcarraldo, in which the obsessiveness of the central character was mirrored by the director during the making of the film, as shown in Burden of Dreams, a documentary filmed during the making of Fitzcarraldo. His treatment of subjects has been characterized as Wagnerian in its scope, as Fitzcarraldo and his later film Invincible (2001) are directly inspired by opera, or operatic themes. He is proud of never using storyboards and often improvising large parts of the script, as he explains on the commentary track to Aguirre, the Wrath of God.
Thursday 10 March 2011
The Grizzly Man - A Critique
The Grizzly Man is an exciting tale of impending carnivorous doom. Why?
For thirteen years throughout the summer, Timothy Treadwell would be flown to Alaska's Katmai National Park (and then left there, by pilot and ex rodeo rider, Willy Fulton) to spend his summer months with the bears that reside there.
He would trek through the national park, through an area called the Grizzly Maze.
In the last five years with the bears he shot over one hundred hours worth of footage.
During his expeditions he was mostly alone, except for the last two years in which his woman counterpart Amie Huguenard would accompany him - even though she was reportedly terrified of the beasts.
In 2003, they were consumed by one of the bears that Timothy loved so much.
It was Fulton that discovered the remains of what appeared to be human ribs.
Treadwell had turned the camera on at the time of being done in by the ravenous bear, however the lens cap was on - so no visual. There isn't any audio either, due to director Herzog not wanting to make a snuff film.
Some say he was flirting with death, others thought he was crazy.
Near the end of his life it seemed he preferred bears to humans.
I thought the documentary was well narrated by director, Herzog but thought the antics of Treadwell were somewhat foolish and that the man had lost contact with his human side along the years.
For thirteen years throughout the summer, Timothy Treadwell would be flown to Alaska's Katmai National Park (and then left there, by pilot and ex rodeo rider, Willy Fulton) to spend his summer months with the bears that reside there.
He would trek through the national park, through an area called the Grizzly Maze.
In the last five years with the bears he shot over one hundred hours worth of footage.
During his expeditions he was mostly alone, except for the last two years in which his woman counterpart Amie Huguenard would accompany him - even though she was reportedly terrified of the beasts.
In 2003, they were consumed by one of the bears that Timothy loved so much.
It was Fulton that discovered the remains of what appeared to be human ribs.
Treadwell had turned the camera on at the time of being done in by the ravenous bear, however the lens cap was on - so no visual. There isn't any audio either, due to director Herzog not wanting to make a snuff film.
Some say he was flirting with death, others thought he was crazy.
Near the end of his life it seemed he preferred bears to humans.
I thought the documentary was well narrated by director, Herzog but thought the antics of Treadwell were somewhat foolish and that the man had lost contact with his human side along the years.
Wednesday 9 March 2011
James Marsh - Director, Man on Wire
James Marsh (born April 30, 1963 Truro, Cornwall) is a film director known for directing the cult film Wisconsin Death Trip starring Marcus Monroe and Sir Ian Holm. He won 2008 Academy Award for Best Documentary Feature for directing Man on Wire.John Cale.The King which was screened in the Un Certain Regard section at the 2005 Cannes Film Festival.
In 1998 he directed a documentary about the Welsh musician
In 2005 he directed the film
Man on Wire, about Philippe Petit's walk between the Twin Towers of the World Trade Center in New York. Man on Wire won the Academy Award for Best Documentary Feature at the 81st annual Oscars, the BAFTA award for best British film, the Independent Spirit award, and many others. The film, called "exhilarating", has had a hugely positive audience response and was among the Top Ten Films of 2008 on many critics' lists.
In 2008 he made the documentary
Red Riding (TV - Channel4) and will direct The Vatican Tapes in 2010.
In 2009 he directed the '1980' episode of
Nim Chimpsky.
In 2010 he directed Project Nim which based on the book "Nim Chimpsky: The Chimp Who Would Be Human" by Elizabeth Hess. It is a documentary about the landmark study conducted by Herbert S. Terrace on the subject of animal language acquisition and the subject of the study is a chimpanzee named
Ref; Notes via Wikipedia.
In 1998 he directed a documentary about the Welsh musician
In 2005 he directed the film
Man on Wire, about Philippe Petit's walk between the Twin Towers of the World Trade Center in New York. Man on Wire won the Academy Award for Best Documentary Feature at the 81st annual Oscars, the BAFTA award for best British film, the Independent Spirit award, and many others. The film, called "exhilarating", has had a hugely positive audience response and was among the Top Ten Films of 2008 on many critics' lists.
In 2008 he made the documentary
Red Riding (TV - Channel4) and will direct The Vatican Tapes in 2010.
In 2009 he directed the '1980' episode of
Nim Chimpsky.
In 2010 he directed Project Nim which based on the book "Nim Chimpsky: The Chimp Who Would Be Human" by Elizabeth Hess. It is a documentary about the landmark study conducted by Herbert S. Terrace on the subject of animal language acquisition and the subject of the study is a chimpanzee named
Ref; Notes via Wikipedia.
Tuesday 8 March 2011
Man on Wire - A Critique
Man on Wire is a 2008 film about a human construction of an amazing feat of boldness and ludicrousness; not so much about wire walking but about a corageous man chasing to the final hurdle his childhood dream.
Philippe Petit and his assembled band of brothers, their relationships and a beginning to end extravagance in their poetic project, their metaphor for life.
This film can educate us on how to concern ourselves resolutely on realising our dreams.
My personal feeling of this film were that of a sombre nature. There seemed to be a hopeless pessimism in each persons story that made me feel mildly cheerless and drained.
Philippe had a slightness about him of perhaps arrogance or egotism. That I suppose, he earned from his exotic lifestyle of adrenaline fielding and placelessness.
The film dwelled a little too much on worry and frightful anticipation. Indifference to excitement with an almost nonchalance, to the possible inevitability of a lurking doom.
It shows the sacrifice we as people have to make to live our dreams and the consequences of them being completed.
Philippe Petit and his assembled band of brothers, their relationships and a beginning to end extravagance in their poetic project, their metaphor for life.
This film can educate us on how to concern ourselves resolutely on realising our dreams.
My personal feeling of this film were that of a sombre nature. There seemed to be a hopeless pessimism in each persons story that made me feel mildly cheerless and drained.
Philippe had a slightness about him of perhaps arrogance or egotism. That I suppose, he earned from his exotic lifestyle of adrenaline fielding and placelessness.
The film dwelled a little too much on worry and frightful anticipation. Indifference to excitement with an almost nonchalance, to the possible inevitability of a lurking doom.
It shows the sacrifice we as people have to make to live our dreams and the consequences of them being completed.
Monday 7 March 2011
ITV vs BBC
I found the debate an amusing event for the class; it was constructed well for the opposing groups to bring forth their arguments efficiently for the contest to go forward.
I also enjoyed the back and forth and tried to provide notes to my comrades whilst simultaneously recording the sound. But personally as part of the ITV crowd I found myself drawn more towards the BBC side of the argument because I am bias for this network and I do not watch ITV.
But none the less I brought forwards reasons against the BBC argument. I found the debate a mostly one sided affair because of our lack of constructive quarrels constructed previously to the matter at hand.
If we had written more notes and interpretations of our argument we would had been better prepared to perform against the overwhelming superiority of the BBC argument.
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