CIN101 Course Outline PDF

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This is Intro to Film Art syllabus...

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Ulster University, School of Arts & Humanities, BSc in Cinematic Arts CIN101 – Introduction to Film Art Fall 2020 Lecturer: Murat Akser e-mail: [email protected] Mondays 11:15-13:00 online (lecture) Session 1 – 21/09/2020

Topic Film Process

Notes Corrigan Ch1

2 – 28/09/2020

Mise-en-scene

Corrigan Ch2

The Player (d. Robert Altman, 1992) Close Encounters of the Third Kind (d. Steven Spielberg, 1977)

3 - 5/10/2020

Cinematography

Corrigan Ch3 Brick (d. Ryan Johnson, 2005)

4 – 12/10/2020

Editing

Corrigan Ch4 The Limey (d. Steven Soderbergh, 1999)

5 – 19/10/2020 6 – 26/10/2020

Sound and Music in Film Single shot film due

Corrigan Ch5

Film Narrative

Corrigan Ch6

Singing in the Rain (d. Stanley Donen and Gene Kelly, 1952) Three Colours: Blue (d. Kryzstof Kieslowski, 1993)

7 – 2/11/2020

Film Narrative and Writing

Corrigan Ch6 Now You See Me (d. Louis Leterrier, 2013)

8 – 9/11/2020

Documentary Pitching for six shot film

Corrigan Ch7

Experimental Film and New Media

Corrigan Ch8

10 – 23/11/2020

Film Genres

Corrigan Ch9

11 – 30/11/2020

Film History to Global Cinema

Corrigan 10

9 –16/11/2020

Roger and Me (d. Michael Moore, 1989) Meshes of the Afternoon, At Land (d. Maya Deren, 1943) The Searchers (d. John Ford, 1956) Head-On (d. Fatih Akin, 2004)

12 – 7/12/2020

Film Theory Corrigan Ch11 Dry Summer (d. Metin Erksan,1963) Six shot film (rushes/rough cut) All films are available at the Non-Book Media section of the Magee campus library (MM Building) Module Aim: With an emphasis on variety of film practice, this module aims to introduce students to the essential elements of film narrative and engage them in thinking critically about the choices made by filmmakers in constructing the look and sound of their films. We will be asking, therefore, how meaning is created in the cinema, as well as what ideas and arguments such meanings may generate among critically aware spectators of it. In doing so we will be exploring the richness and complexity of cinema's potential to communicate with its spectators through a carefully selected variety of films. Represented amongst these will not only be the classic Hollywood model with which we are all most familiar, but also films

from other national and artistic traditions. These will be examined in the context of both weekly lecture/workshops and practical tutorials. Assessment: Presentations 40% Single Shot Film 30% Six Shot Film 30% Reading: Timothy Corrigan and Patricia White. The Film Experience 6th Edition. Bedford/St. Martins, 2020. ISBN: 9781319208189 Recommended: Sonja Schenk. Premiere Pro for Filmmakers (Student Edition) (The Digital Filmmaking Handbook Presents) ISBN: 978-1670823113 Sonya Schenk and Ben Long. The Digital Filmmaking Handbook, Seventh Edition, 2020. Luis Gianetti. Understanding Movies 14th edition. Pearson, 2018. ISBN: 9780134002613 David Bordwell. Film Art: An Introduction 12th Edition, McGraw-Hill, 2016. ISBN: 978-1260565669 Online Resources: http://thefilmexperience.net http://www.davidbordwell.net/blog/ ASSESSMENT In Class Presentations (40%) In groups of three you will present the film of the week in connection with that week’s film topic. This will be a 10-minute presentation with a 5-minute Q&A. as a product of the presentation each presenter will submit a video recording of this powerpoint presentation as a video file on vimeo. These presentations are to be submitted through RT. Deadline: complete on a weekly rolling basis (each blog entry must be uploaded before the succeeding week’s class); each upload is assessed the week after it is posted. Presentation video submission can be made on the relevant section of BBL Single Shot Film (30%) The single shot assignment consists of one shot, with no cuts. The camera can be locked off or mobile – in other words there can be pans, tilts or camera movement of any kind. The camera need not be absolutely still. The emphasis in this exercise is on composition and story content delivered by information within the frame. Specifications: movements are permitted by the camera. You will be assessed on the quality of the framing, originality of the idea, the execution of the story and the emotion/message created. You can shoot with your cell phone or DSL cameras that shoot video etc. No music please. Only natural location sound recording is permitted. Deadline: October 19, 2020 Length: 1 minute. please upload the film on vimeo and post the link on BBL. Students will create a vimeo profile and submit their film to festivals through filmfreeway platform.

Six Shot Film (30%): In the 6-shot film, each filmmaker must tell a story with a beginning, middle and end with only six shots. Your aim here is to evoke emotions in the viewer by telling a story. Something really small. This is to be a simple project not complicated at all. Movement and the cuts are explored, and how shot-to-shot relationships communicate. Specifications: each shot must be exactly 10 seconds in length. Cuts between the 6 shots must be straight cuts, no transitions of any kind. The camera may move. Non-synch sound (or “wild” sound) and music (no words) may be used. Length: 1 minute. Please post your vimeo link on BBL. The subject can be a short scene, a series of shots that deal with a theme (love, hate, hope), or a short dramatic piece. Each digital story must reference a scene or sequence from one of the movies and/or demonstrate concepts discussed in class. You will each write a final self-critique of the creation process and discuss how this exercise helped you understand the introductory concepts of film such as form (cinematography, mise-en-scene, editing, sound) and style (writing, directing). The concept will be pitched around week 7 and shooting will commence. All of the digital stories will be uploaded to Vimeo. You are required to develop a 1-minute video that tells a story. Abstract components are not acceptable. The breakdown is as follows: -Pitching for six shot film (Monday November 16) during class -Six shot 15 January 2021 before noon Submit via Vimeo on BBL -Proof of submission 10 festivals required via FilmFreeWay. Please note that late or incomplete submission will not be accepted. A sample project pitching sheet and storytelling principles are uploaded on BBL under the heading Sample Projects. FAQ: Question: What do I do as coursework? Answer: 3 things: presentation (video), 1 minute film, 6 shot film (a film and 10 festival submissions) Question: Do I always have to come to class? Answer: There is %75 attendance requirement. You need to learn week by week. It is skills and learning that builds up weekly. Question: I have taken MIA at school before. I am familiar with some of the things discussed in class. Answer: Although the things you learnt before will feed into your studies, this is new territory for you. Knowledge and skill levels required of you will be more advanced at the university level....