John Huston

he is the director of the maltese falcon, if we read that we can realise that is one of the most interesting biographies that you have ever known in XXth century...
look that and we will comment next lecture:


http://www.filmaffinity.com/en/search.php?stype=director&stext=John+Huston

http://en.wikipedia.org/wiki/John_Huston

FORMACIÓ EN LLENGUATGES AUDIOVISUALS

Cinc cèntims de la formació que podem tenir pel 9 de desembre, jo he triat la primera, però si penseu diferent, feu'm-ho saber.

Vocabulari cinematogràfic.
explicació del flashback, contrapicat, raccord, encadenat... formació sobre el lèxic cinematogràfic.

L'enquadrament: el camp i el fora de camp.
Com veiem el cinema i les seves implicacions.

Planfiquem la mirada: story board.

De Chaplin a Tarantino.
conèixer el cinema clàssic ens donarà les claus per entendre el cinema actual.

Deconstruint l'espectacle cinematogràfic.
A partir d'exemples actuals com aquests, analitzarem què entra en joc a l'hora de convertir una peça cinematogràfica en un esdeveniment mediàtic tan popular com espectacular.

maltese falcon

wed 28, we watch that film, one of the masters of cinema.

ORIGINAL TITLE The Maltese Falcon
YEAR
1941
RUNNING TIME
100 min. Watch Trailers/Videos
COUNTRY
[United States]
DIRECTOR John Huston
SCREENWRITER John Huston (Novel: Dashiell Hammett)
COMPOSER Adolph Deutsch
CINEMATOGRAPHER Arthur Edeson (B&W)
CAST Humphrey Bogart, Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Lee Patrick, Sydney Greenstreet, Elisha Cook Jr., Ward Bond, Walter Huston, Jerome Cowan
STUDIO/PRODUCER Warner Bros. Producer: Hal Wallis.
GENRE Film-noir
SYNOPSIS/PLOT Sam Spade is a partner in a private-eye firm who finds himself hounded by police when his partner is killed whilst tailing a man. The girl who asked him to follow the man turns out not to be who she says she is, and is really involved in something to do with the `Maltese Falcon', a gold-encrusted life-sized statue of a falcon, the only one of its kind.

Great new!!!

there are the CAC prizes. we should check that and think about our possibilities.

http://www.cac.cat/web/premis/escola/detall.jsp?OTM%3D&MQ%3D%3D&

We can try that!!!

work teams and let's start

During today´s lecture we will start to work on our project, we have to decide the different work teams and we will develop the script, the casting, the production, the story board of the film, the editing...

Decide where you want to work and start to produce.
In the last class we talked about the examples of story boards, in this class we will see the script.

To write a cinematografic script in the American form we can use the Software FINAL DRAFT; it's a text editor with the spaces and distances of American script.

A free piece of software is Celtx, which we can download here:
http://www.celtx.com/download/CeltxSetup-es-ES.exe

For users of Word as word-processing software, we can install an screen that agregates the possibilities of professional script. It's called Script Smart 97 and we can download it here:
http://www.bbc.co.uk/writersroom/scriptsmart/SS97V1/Script_Smart_97.dot

This programme will transform the script into something visually similar to the industry standard. Here you can see the script of "Little miss sunshine": http://www.dailyscript.com/scripts/LITTLE_MISS_SUNSHINE.pdf

You can find more examples of the scripts of wonderful films with the following link
http://www.simplyscripts.com/oscar_winners.html

Good luck!

the program

History of cinema.

This is the programme of the subject. It can be modified with problems or decisions that we have taken during the course.

7th October. Presentation. Story board exercise.

14 October. Science fiction. The Cube. Vicenzo Natali. 1998

21 October. The script, we are going to start the class doing work in teams about the film project. Presentation of the blog hisofcinema.blogspot.com as a tool to comunicate and coordinate the whole teams. Different teams; the script, the casting, direction and production.

Search for materials and start to produce the script.

28 October. Sequence (film making) where we’ll learn the difference between heists, acts, shots and art structure. Black cinema. The maltes falcon. John Huston. 1941.

4 November. Historical film. The grapes of wrath. John ford. 1940.

11 November. 2nd part of The grapes of wrath. Know the process and the cinematographic language to start a movie. Coordinate teams, start the production process.

18 November. War cinema. Paths of glory. Stanley kubrick. 1957.

25 November. Horror. Psicosis. Alfred Hitchcock. 1960.

9 December. Practice.

16 December. Road movie. Easy rider. Dennis Hopper. 1969.

23 December. Practice.

6 January. Musical. Dancer in the dark. Lars von Trier. 2000.

13 January. Practice.

20 January. Be kind rewind. Michel Gondry 2008. A summary of the history of cinema with that funny and well done movie.

27 January. Practice 5.

the science fiction

During the first lecture we started witn an introduction of our course, every two weeks, we will see a film of a different genre.
Last lecture we saw the cube, a science fiction film. This genre that we read has fundamental points, that films may include:

• A setting in the future, in alternative timelines, or in a historical past that contradicts known facts of history or the archaeological record
• A setting in outer space, on other worlds, or involving aliens
• Stories that involve technology or scientific principles that contradict known laws of nature
• Stories that involve discovery or application of new scientific principles, such as time travel or psionics, or new technology, such as nanotechnology, faster-than-light travel or robots, or of new and different political or social systems (e.g., a dystopia, or a situation where organized society has collapsed).

If you want to know more about the cube, you can see web references in http://www.filmaffinity.com/es/film741341.html

I hope you enjoyed that.