Green Screen Project

INDIVIDUAL PROPOSAL

Synopsis: 

C.U.N.T (Courage, Unity and the Noticeably Transcendent) is a short film that addresses the ways in which women are seen in modern society, Using words seen as both positive and negative

Research and meaning:

The film is called C.U.N.T as it is an acronym for the full film title Courage, Unity and the Noticeably Transcendent but also as an attempt of reclaiming and redefining the word that is seen as one of the foulest and offensive in the English language, it was, in fact, a word used to empower women through their natural and beautiful sexuality in ancient times and it also links back to the Hindu nature goddess named Kunti.

GUERRILLA GIRLS

Barbara Kruger using slogans and word

GEORGIA O’KEEFFE flowers

 

 

Bibliography

 

http://www.arthistoryarchive.com/arthistory/feminist/

http://www.visual-arts-cork.com/definitions/feminist-art.htm

http://www.suzannelacy.com/three-weeks-in-may/

The Story of VA Natural History of Female Sexuality Catherine Blackledge

 

Filmography

3 Weeks In May (1977) Suzanne Lacy

!Women Art Revolution

 

Production Stills

Story Board

 

Project Roles

 

Bibliography

 

 

 

Filmography

 

 

 

Final project

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Project D

Project C “Long Take”

Individual Proposal 

My long take “A Moment in Time” will show a brief moment between two lovers and their complex feelings towards one-another, I plan to show love, jealousy, hate, anger and forgiveness through body language and facial expressions. All the characters body language will incorporate classical theatre and Silent drama acting techniques. Taking inspiration from films such as Cabiria (1914) as well as Love (1927), i’ve chosen these films as I believe they capture elements that I want to portray in my long take, the way they use body language and facial expressions to enhance the story particularly intrigues me as together they give more depth to the story than, I believe, dialogue could.
My main inspiration out of these two films is Love (1927) as it more accurately depicts the feelings I desire to get across to the audience, it’s use of long takes at medium-close up shots to clearly show facial expressions is something I want to incorporate into “A Moment in Time” I used David Bordwell & Kristin Thompson Film Art: An Introduction Chapter 5 The Shot: Cinematics to understand the function of a long take and how it is incorporated in both early cinema and in modern cinema, for example the chapter goes into detail how “With the emergence of continuity editing in the period 1905–1916, shots became shorter.” and how that effected cinema and the long take. Also in chapter 5 it talks about how the mise en scene is important for long takes and how it can “guide our scanning of the frame.” directing the spectators attention to important objects or characters in the frame or allow spectators to take in everything within the frame.

Bibliography:

Bordwell, D. and Thompson, K. (2001). Film Art: An Introduction 10th ed. New York: The McGraw-Hill Companies, pp.211-214.

Filmography:

Love. (1927). Directed by Edmund Goulding [Film] USA: Metro-Goldwyn-Mayer (MGM)

Cabiria. (1914). Directed by Giovanni Pastrone [Film] Italy: Itala Film

Project C “Nuk Soo”:

Synopsis: Nuk Soo (meaning warrior) is a short film about the meditating and calming effects of boxing. In this film, a boxer unloads his everyday worries by physical exercise and is ‘reborn’. Film is set in a gym, features only the boxer and a boxing bag.

Production Stills and editing:

screen-shot-2017-01-13-at-13-09-49screen-shot-2017-01-13-at-13-09-43

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Editing volume levels

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Panning voice audio

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Stills from filming

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Stills from filming

 

 

 

 

 

 

Production schedule:

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Production Roles:

Creator, director, camera – Remmi

Backstage – Miraj

Editing – Zak

Other crew – Michael, Bella

 

Bibliography:

Bordwell, David & Thompson, Kristin (2001) Film Art: An Introduction (8th edition)

Katz, Steven D. (1991) Film Directing Shot by Shot: Visualizing from concept to screen 

Filmography:

https://www.youtube.com/watch?v=pJ2szv_ZXkU

https://vimeo.com/92383943

Touch of Evil (Orson Wells, 1958)

Hunger (Steve McQueen, 2008)

Children of Men (Alfonso Cuarón, 2006)

Werckmeister Harmonies ( Béla Tarr, 2000)

Victoria (Sebastian Schipper, 2015)

Love. (1927). Directed by Edmund Goulding [Film] USA: Metro-Goldwyn-Mayer (MGM)

Cabiria. (1914). Directed by Giovanni Pastrone [Film] Italy: Itala Film

Other research:

http://www.indiewire.com/2014/03/ranking-the-20-greatest-most-celebrated-long-takes-87699/

http://bestmuaythaiaz.com/muay-thai/

https://www.ko-muaythai.com/news/ko-gym-hq-east-london.html

Final Project:

 

Project A “Observational documentary”

Individual Proposal 

“A Dance With Humanity” is about many aspects of humanity in modern city life and how people of different cultures have adapted to it, showing both day and night life throughout many locations within the diverse city of London.

The form I will be incorporating is rhetorical form as I wish to imply that despite all our differences we are all inherently the same. Through only observational methods I will make the camera act as an unbiased viewer on the diverse Londoners going about their daily lives. The technical rules I’ve intended to use are fixed camera only, individual clips in the editing should be no longer than ten seconds and a range of wide, medium and close-up shots. I’ve chosen these because I feel they are best suited for the style of film I wish to make. A fixed camera allows me to capture people’s daily lives without being over intrusive, I intend to time-lapse these scenes. Having clips no longer than ten seconds long allows me to capture a wide variety of locations within London and a range of wide, medium and close-up shots challenges me to capture life uninterrupted in a variety of ways.

“A Dance With Humanity” is an observational documentary showing many aspects of humanity in modern city life and how people have adapted to it, showing both day and night life throughout London. How different ethnicities, religions, cultures, sexualities and genders all live and interact with each other within the city. The film will also portray the very things that make us human such as music and art and how these have been integrated within the fabric of London life.

I’ve chosen to do a film about this subject because diversity and individuality is something that I believe should be celebrated but I also want to show that no matter how ideologically different or aesthetically different we are all still the same, we are all human and coexisting.

Research from David Bordwell & Kristin Thompson Film Art: An Introduction Chapter 5 The Shot: Cinematics I looked into changing tonality after filming and how Avant-garde directors used tinting to create a desired mood or feel to a scene. I also look at Chapter 10 Documentary, Experimental, and Animated Films from this I explored Rhetorical and Categorical form and which best fitted the type of documentary I wished to make.
I also did research into observational documentaries which are Koyaanisqatsi, Which I chose due to it’s interesting portrayal of humanity and their relationship with technology and nature. Godfrey Reggio achieved this with his artistic choice of shots. The other film I chose was Pink Floyd: Live in Pompeii, this film uses a great range of shots and clever editing to show the history of Pompeii which contrasts with the band’s music.

Bibliography:

Bordwell, D. and Thompson, K. (2001). Film Art: An Introduction 10th ed. New York: The McGraw-Hill Companies, pp.163-165, 355-369.

Filmography:

Koyaanisqatsi. (1982). Directed by Godfrey Reggio [Film] USA: IRE Productions, Santa Fe Institute for Regional Education

Pink Floyd: Live in Pompeii. (1972). Directed by Adrian Maben [Film] France: Universal Studios

 

Synopsis 

“A Dance with Humanity” is an observational documentary about a range of aspects of humanity within modern city life and how people have adapted to it. The film will show both day and night life throughout London and how different ethnicities, religions, cultures, sexualities and genders all live and interact with each other on a daily basis. It will also show the creative aspect of humanity taking a close look at people’s relationship with art and music.

Production Stills

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Close-up of a child and his father

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Long shot of London nightlife outside a restaurant

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Long shot of London nightlife

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Mid-shot of live music in the streets of London

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Mid-shot of humanity within art

 

 

Production Schedule 

Week 1 (24th October 2016 – 30th October 2016):

Monday – Group planning of the film

Tuesday – Book Cameras

Wednesday – Filming (East London)

Thursday – Filming (East London)

Friday – Filming (East London)

Saturday – Filming (East London)

Sunday – Filming (Central London)

Week 2 (31st October 2016 – 6th November 2016):

Monday – Filming (Central London)

Tuesday – Filming and begin editing (Central London)

Wednesday – Filming/ Editing (Central London)

Thursday – Filming/ Editing (West London)

Friday – Filming/ Editing (West London)

Saturday – Filming/ Editing (West London)

Sunday – Filming/ Editing (West London)

Week 3 (7th November 2016 – 13th November 2016):

Monday – Editing 

Tuesday – Editing

Wednesday – Editing

Thursday – Editing

Friday – Editing

Saturday – Editing

Sunday – Editing

Week 4 (14th November 2016 – 20th November 2016):

Monday – Editing 

Tuesday – Screening

Wednesday – Group discussion and finalising post production

Thursday – Final editing

Friday – Submit work

Saturday

Sunday

Bibliography:

Bordwell, D. and Thompson, K. (2001). Film Art: An Introduction 10th ed. New York: The McGraw-Hill Companies, pp.163-165, 355-369.

Rabiger, M. and Jariod, D. (2007). Directing the Documentary. 6th ed. Barcelona: Omega, pp.22-24, 51-56

Kobre, K. (2012). Videojournalism. 1st ed. Waltham, MA: Focal Press, pp.132-151

 

 

Final Film