Puesta en escena en inglés PDF

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Puesta en escena [email protected] 17.2.39 Examen super fácil, si pasas el examen pasas la asignatura. 3 o 4 individual assignments. 1 group Project, short film or scene, 6 members. 60 % exam 40 % (20 final assignments, 20% projects). Week 2 (no ha habido week 1) In film studies: The contents of the frame and the way they are organized. Bardwell-Thompson: settings, costumes and make-up, lighting and staging. Gibbs (Wood): Décor and properties, costume, lighting, actors, frame (camera), editing and sound. Week 3 (Magistral) Rites: Religion Education (survival) Interaction Done by the people Done for the people. -

Recreate. Reenact. Entertain. “surprise birthday party” “bachelor party

Groups grew  Audience  Spectacle (contemplative) Los cavernícolas ya se contaban historias, y eso fue evolucionando hasta el punto en el que surgió el espectáculo, relacionado con la presencia de público. To make a spectacle we need an audience, the concept of spectacle is related to the people watching what is going on. Fear is necessary in the early times to teach to the rest what they shouldn’t do. Fear comes from superstition which evolved to religion. Tribes used storytelling to understand what was going on. Storytelling is going to evolve and become something profane whilst religion will be related to the sacred things and stuff. At the beginning they were very related but during their evolution they separated. Myths and heroes. The first stories were about this. Religious -> Profane

There is going to be a mix of the religious and profane. Political ostentation (royalty). As they see characters in the theatre are heroes, they want to be represented as heroes too. At the same time there were some theatre groups performing for the people and not just the royalty, their mise-en-scene was much more rudimentary (whilst for the kings the mise-en-scene was very worked). At the end of the performance, they threw vegetables. Delight for courtiers (later, bourgeoisie). Nobles who could afford to have performances in their houses. Theatre evolved; the stages changed to have the actors on the stage but also the audience’s seats also changed. They started to mix the actors with the audience. Didactic function (educate the masses). It was not just a stage in front of the audience, the mise-en-scene became more important. Postmodernist theories: Deadly theater Repetition and no reinvention. Lack of imaginative process Ineffective performance techniques Classic theater-conventional misé-en-scene Ex: commercial, Harry Potter movies… It is the classic theater-conventional mise-en-scene. It is a formula, it has always the same structure. The author thinks that this is the less interesting kind of theater because it is always the same. Holy theater Audience joins performers in a transformative xp Extinct religious rituals reenacted. Very special kind of theatre. It tries to make the audience feel a spiritual renovation, it connects with you in a very special way, it makes you reflect on how and who you are. Marginal theater It is not the kind of cinema you are used to. Independent Unconventional Microtheater, Woody Allen, David Lynch. Theater One shot, one angle. Director has to; work in just one frame , create spaces, depth, levels in one stage.

Film and TV Since 1899. L’affaire Dreyfuss. Eleven scenes. 1900. Attack on a China mission. 4 scenes. 1903. Life of an American fireman. Parallel. Cross-cutting. A lot of shots; a lot of angles. Editing. It evolved, at the beginning there wasn’t continuity because nobody had done it before.

Week 4 (Workshop) Canted/Dutch angle – 30º-45º _ Bavarian 90º _ Luxembourg 180º Mise-en-scene The mise-en-scene is everything that is framed in the screen that makes us want to talk about the film. Have you seen when…? Of all film-techniques the most noticed. Involves planning in advance. (Don’t renounce spontaneity) Filmmakers achieve realism: Give settings authenticity; (Matrix, Jurassic Park.) Naturally performances (salvar al soldado ryan) Filmmakers create fantasy: Imaginary worlds; (star wars) Affected performances. Every single aspect that is planned for the film is what helps to create a certain mood or atmosphere that helps to get the spectator more involved while watching the film. Everything that is on the film maker’s mind that can help to recreate the space, the action and the atmosphere as he/she understands it. Control of the areas and elements that make possible to enact what’s on filmmakers’ mind. Space: The Watered watered or the sprinkler sprinkled, 1895, Freres Lumiere. (first feature film to create expectancy through the construction of the space) Basic diagram Elements: Position (front view) Empty zones (expectancy) Depth (dynamism)

Scale (human being point of reference) Not just fill it with anything. We don’t make good/bad decisions, but better/worse. Geographically: Handheld camera style cause we can put the camera everywhere. Depth interpretation + space comprehension = we understand the image as a three dimensional space Binocular vision (two eyes) monocular (camera) To fake (performers position; camera position; decors) Other things: Unbalanced shot: usually used to precede unfortunate events Canted / Dutch angle: +/- 45º - 30º Bavarian angle: 90º Luxembourg: 180º

Screen Space: Whatever is framed. In the frame. As in painting we work with shades, colors and shapes. Guide attention Emphasize elements Balance (empty zones  expectancy) Contrast Shade/light Color (warm/cool) Bright/dark Size Movement Bilateral symmetry: the extreme type of balancing right and left halves of the rectangular frame. (balance)

Week 6 Scene space: Depth space (cues): elements of the image that creates the impression that two-dimensional pictures are presented as three-dimensional areas. Provided by misé-en-scéne aspects: setting; lighting, costumes and staging. Suggest that a space has Volume; solid three-dimensional area, shape, shade and movement. Planes; layers of space occupied foreground, middle ground, background. Reality of the studio is completely different from the reality we are creating in the movie. Depth cues -Overlapping; Elements seem closer to us. We understand that there are different layers and there is a distance between one and the other. It is a way to work with distance. The combination of these things make the audience know and understand how things are organised. The elements seem closer in this order: warm colored; brightest elements, seems closer to us; shapes hiding - Cast shadows; The shadows created will give a different sensation of the space, space is going to be perceived differently. They can be used to change the perception of reality in the movie. perspective with different planes - Movement; As the subjects move, perspective changes. provide us references. - Aerial perspective; Hazing over more distant planes. Concept of when we work with focus, from blur to sharp. How sharp the image is. hazing over more distant planes; lighting + lens focus. - Size diminution; objects farther away = smaller - Linear perspective; vanishing point; central (One-point); Off center

Depth cues are monocular; -illusion of depth input from one eye (camera) Stereopsis is a binocular depth cue; -our two eyes see from slightly different angles -3D (shot with two lenses) -rendered by cinematography rather than misé-en-scéne

Week 7 Online COMPOSITION  Shallow space: Little depth, closest and most distant planes seem only slightly separated.  Deep-space: A significant distance seems to separate planes. Makes the foreground plane quite large and the background plane quite distant. Depth cues used to create a deep-space: size diminution, linear perspective... Space according to John Gibbs Elements of mise-en-scene Vital expressive element:  In frame (organisation contents, position of the camera)  With performers (staging)  Personal space between them  Blocking (positioning of the actors)  Relationship expressed  Patterns created Week 8 Workshop No fui, pero parece ser que no hicieron nada. Week 9 Online BORDWELL: setting Plays a more active role in cinema than in theater: - Bazin; human being is all-important in theater - Drama can exist on screen without actors - Banging door, plastic bag, a leaf in the wind... ➔ Winchester 73. A western starred by a shotgun (1950) ➔ Horror movies about haunted houses ➔ War House (2012) S. Spielberg ➔ Wig in The Simpsons episode The treehouse of horror IX The stereotypical conventions are important for the mise-en-scene to be understood. Filmmakers: Some may select existing locale for the action (location), some may construct the setting (décors). Some emphasize authenticity, some have been less committed to accuracy. Setting can overwhelm the actors. it can also be reduced to almost nothing. The overall design of a setting can shape how we understand the story. The choice is to build or not to build? It will depend on your intentions, on the money you have, the producer... Complete décors (Create the whole décor). Locations with “prosthetics” (A place/location, where you have to add things). Miniatures (Tilt-shift) Full sized sections + paintings (combined photographically) Digital effects https://www.pelispe.com/pelicula/11120/true-romance-romance-salvaje.html

Week 10 Workshop Otra vez la ultima diapositiva de la ultima clase. Week 11 Online PROPS (properties) - Propmaster: responsible to arrange and handle props - All movable, physical objects used on the set in a film or TV show such as decorations, furnishings, hand props; vases, dishes, and so forth. - Objects in the setting that have a function within the ongoing action ➔ The ring in Lord of the rings ➔ The Magnum in Dirty Harry ➔ The telephone booth (Tardis) in Doctor Who

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Mere objects. Part of décor.

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Meanings. Transfer from reality to allegory. Kitchen Knife: cutlery (becomes) menace (becomes) release.

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Develope associations (metaphors)

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To set a mood. - Cliches: cigarettes and glass of whisky.

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To identify a character. - Excalibur.

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To identify the genre. lightsaber (science fiction)

The main problem with props that we have is continuity. COSTUMES: Coordinated with setting and cinematography. Great variety of specific functions:  casual roles (speed)  narrative progression (social class)  meanings (Metaphors; Miller’s crossing’s hat)  graphic qualities (Color; contrast)  pick the characters out (Contrast - uniforms)  authenticity (Period movies)  identify genre CGI Costumes (Full or just enhanced) - Green lantern, batman (Christopher Nolan). Última clase

La misma diapositiva. Social class. Jessabel. Meanings. Hat on. Touches it. Has got back his honor. Graphic qualities. Depending on the cultures the colors have different meanings. Contrast. Mirror mirror.

Make up and hair style Early days: Help register faces (film stocks-low film speed). Today: to pass unnoticed (avoid shine and pale face). Accentuate expressive qualities (eyebrows, rings, wrinkles) Historical. Identify a character. Joker (icon).

F/X makeup Horror movies (monsters) Science fiction movies To age To create wounds and scars Impersonations

CGI (Digital makeup)

Absence (realism; sickness)...