Acting as both training camp and laboratory, it is a diverse, multidisciplinary program where unexpected collisions and obsessive attention to detail expose a rich seam of creative potential. Media Studies presents an opportunity to develop individual practice, where students hone their dexterity with established and progressive media, actively testing modes of production through focused acts of doing and making.
PIECE TO CAMERA
un film égaré dans le cosmos (a film lost in the cosmos)
un film trouvé a la ferraille (a film found in the scrapheap)
Totem et Tabou
Titles sequence for Weekend (Jean-Luc Godard, 1968)
I believe that one of the secret engines that allows cinema to work, and have the marvellous power over us that it does, is the fact that for thousands of years we have spent eight hours every night in a 'cinematic' dream-state, and so are familiar with this version of reality.
What I'm interested in is human beings alone.
When you're making video, you're giving structure to time, which is what a composer does.
The camera relieves us of the burden of memory. It surveys us like God, and it surveys for us. Yet no other god has been so cynical, for the camera records in order to forget.
This year’s course in Video will offer a choice for participants; both requiring elements of script and performance as well as consideration of framing and distancing. The subject for research and development will be You. What we see on screen then will either be you (or an actor) performing to camera or you represented by a landscape. A landscape made personal to you through research, history or symbolism.
You are to be the subject in either treatment. You will fill the frame. You are the person we will hear.
Our choice of background material, the longer film texts, reflect on how the landscape can be employed in filming and storytelling as a means of isolating voice and experience.
Session 1: Wednesday 9th January 2019
- Concepts and structures. We will watch examples of work utilising a broad range of techniques. Cameras and shot types.
Session 2: Wednesday 16th January 2019
-We have to consider narrative structure in filmmaking and those works without one.
Session 3: Wednesday 23rd January 2019
- Films that have big spaces and few words. Films that have many words and small spaces.
- What’s a landscape anyway?
Session 4: Wednesday 30th January 2019
-Editing and the language of film grammar
- Motion graphics
Session 5: Wednesday 13th February 2019
-Travelling and Filming
- Sounds and recording
Session 6: Wednesday 20th February 2019
-Filming and travelling, rough cuts and voice overs
Session 7: Wednesday 27th February 2019
Session 8: MS JURY DAY: Wednesday 6th March 2019
-Viewing end products
Longer film texts will include the following:
Red Desert (1964, Michelangelo Antonioni)
I Am Cuba (1964, Mikhail Kalatozov)
Weekend (1967, Jean-Luc Godard)
Once Upon a Time in the West (1968, Sergio Leone)
Badlands (1973, Terrence Malick)
Apocalypse Now (1979, Francis Ford Coppola)
Koyaanisqatsi (1982, Godfrey Reggio)
Paris, Texas (1984, Wim Wenders)
IL Divo (2008, Paulo Sorrentino)
Le Quattro Volte (2010, Michelangelo Frammartino)
All work produced will be 16:9 in format with strictly original soundtrack.
Background material and storyboard concepts should be included as PDF document.
Software: We generally use Apple and Adobe products.