Unit 1 Practical 2 - Film Forms

Art and Design: Art Video Unit 1: Practical 2

Theme: Film Forms

Deadlines Week 10 (20/11/09) DEADLINE Unit 1 Practical 1 HAND IN Week 11 Kettle’s Yard Visit Week 1 Term 2 (05/01/09): Mock Exam Editing Week 4 Term 2 (29/01/09): UNIT 1 Practical 2 Deadline HAND IN Week 5 Term 2 (01/02/09): Tutor assessment of Unit 1 Projects Week 6 Term 2 (08/02/09) Unit 1 returned for corrections Week 6 Term 2 (12/02/09) FINAL HAND IN Week 9 Term 2 (22/02/09) Unit 2 papers handed out

Brief: To produce a film (no more than 10 minutes in length) that draws on

And experiments with one or more of the components of film or film form (Narrative, sound, music, animation, Text, screen surface, abstraction). For example, you might choose to experiment with narrative by developing techniques of using voice-over that both connects and disconnects with your chosen images. Alternatively you might create an animation that reveals the illusion of animation itself (Which is of course a series of STILL images). Your pre-production, practical experiments and film analysis should explore and reveal the different forms and techniques involved with moving images, before focusing on a single bigger moving image work that reflects on one or two that interest you. (For example you may choose to experiment with Text and narrative). You will record and document your class work, practical explorations, research and pre-production in a sketchbook. Therefore, even though you may not choose a particular ‘film form’ you must still demonstrate to the moderator that you have studied it and given them due consideration. You should think of these as chapters to a book and work through them methodically.

In order they should appear:

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1) Experimental Narrative and Narration 2) Documentaries and Archive Material 3) Animation

4) 5) 6) 7)

Abstraction & Colour Text Sound Music

Your sketchbook should include:  A Spider Diagram – exploring all the different elements in the specific Film form you have chosen  Film Analysis - Examining one or more films from the film form including three explicit deconstructions of key scenes, which exemplify its qualities. You can use photography from the film to illustrate this.  A Readings Analysis – An examination of one or more readings offered on or off this course. This should consider its usefulness in helping you understand the Movement/s more thoroughly and whether it has been useful in the development of your ideas.  For the Film Form you pick to apply to your work you must go into greater depth and analysis using more material. (Inspirations etc) Your    

sketchbook should also include: A shot list or script of your film, A drawn or photographed storyboard, Any photo’s of locations or actors you may use A 500-1000 word evaluation of your final film.

COMPLETION DATE FOR BOTH THE SKETCHBOOK AND FILM IS 29TH JANUARY 2010

Use the examples, links and images in this hand out and the screenings and workshops over the next few weeks to develop a context for your responses to the theme.

Bibliography Film History – Kristin Thompson and David Bordwell Film Art: An Introduction Kristin Thompson and David Bordwell History of Art – Marcia Pointon A History of Experimental Film and Video – A L Rees Art and Film since 1945 – Kerry Brougher New Screen Media: Cinema/Art/Narrative Rieser, Martin, Zapp, Andrea

Webography There will be a growing number of links on the Art Video site under Art Video AS Project Links: http://artvideo.edublogs.org

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Filmography Sans Soleil & La Jetee - Chris Marker D.I.A.L. History – Johan Grimonperez Waking Life – Richard Linklater Red Dessert – Michelangelo Antonioni The Conversation – Francis Ford Coppola Films of Jayne Parker Radio On – Chris Petit Neighbours – Norman Mclaren Warner Bros Cartoon Collection The Five Obstructions – Lars Von Trier Dog Star Man – Stan Brakhage

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