Class Cinematography Production and Directing Workshop I

  • Presentation


    Introduction to the work of authors in cinema: masterclasses and case studies.

  • Code


  • Syllabus


    Part I

    1. Introduction to film directing

    2. The authors' work

    2.1 Aesthetics and authorship

    2.2 Screenings

    2.3 Masterclasses


    Part II

    1. Production in film studies: an overview 

    2. Independent Production: Contexts, Values, Ideas and Challenges

    2.1 Finding, nurturing and challenging talent

    2.2 Understanding the Director’s Vision: Cast, Theme, Story, Style and Technology

    3. Modes of Production, Circulation and Relevance in contemporary Cinema

    3.1 The role of Festivals, Salles Agents, Publicists and Distribution

    3.2 The rising impact of Communities

    4. In-depth case studies from concept to distribution (focus on firsts or second time directors of feature films).

  • Objectives


    Confrontation with the diversity of ways of thinking and making independent cinema today, with special focus on first and second features films directors case studies, from idea to the screen. 

    1. Gain a better understanding of the challenges and processes of conception, development and production of independent cinema today;

    2. Awareness of the importance of Director's vision, style, and approach to characters and theme;

    3. The implications of cast and crew choices and their relations with scale and modes of production;

    4. Understanding the role of awareness and circulation of cinematographic works in contemporary cinema.

  • Teaching methodologies and assessment

    Teaching methodologies and assessment

    Applied theory, film viewing and group discussions. 

    Masterclasses: (Susana Nobre; Lkhagvadulam Purev-Ochir; Inês Gil, among others) and case studies focused on challenging directors (“After Sun”, Charlotte Wells; “Tienes que venir a verla”, Jonas Trueba; “In water”, Hong Sang Soo, among others).

    The assessment will be based on the presence (obligatory) and participation of the students in the sessions (50%) and a final brief written report (1000 words) discussing the more relevant aspects of the case studies sessions and masterclasses (50%).

  • References


    — BROOKS, Peter (1984). Reading for the Plot. Design and Intention in Narrative. Harvard University Press

    — GEUENS, Jean Pierre (2000). Film Production Theory. Suny Press

    — GROVE, Elliot (2014). Raindance Producers' Lab Lo-To-No Budget Filmmaking. Londres: Focal Press, second edition

    — MACDONALD, Scott (2006). A Crtitical Cinema 5. Interviews with Independent Filmmakers. Berkeley: University of Califórnia Press

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