Screening details confirmed! I realise not everyone can make it, but it’d be great if you could come and show support for your peers. Let’s also head to the pub after. Details below:
Date: Monday 31 October
Good Form is joining us to screen their web series pilots too.
I’m not remotely one for tooting my own horn/directing people to my own research, but a great many of the points I’ll be making today about action cinema have already been articulated (probably much more cogently) in this article I wrote a couple of years ago. Particularly this point:
contemporary cinematic narrative is contingent on special effects, rather than merely embellished by them 
 Binns, Daniel. (2014). Hit/Miss: Evolving Narratives and the Semiotics of the Blockbuster. Southern Semiotic Review, 4.
In making my way through everyone’s first Project Brief, I noticed many of you wanted to try and improve what I’ve called “active viewing”, i.e. being alert for things that might be relevant in terms of film analysis.
I’ve attached a couple of things to this post. Firstly, a chapter on ‘Analyzing [sic] Film’ from Richard Barsam and Karen Gocsik. This should give you a ton of things to look out for, note down, think about while watching a film. You can then go back over your notes and tease these out for exegeses, blog posts, etc.
I’ve also attached my frenzied typing while watching Sukiyaki Western Django back in Week 2. You’ll notice a few things about this document: it’s NOT structured! It’s NOT formal! It incorporates both reasonably informed notation regarding genre, but also random reactions and visceral responses. Your notes absolutely should include both! If you’re having a reaction, you can then go back and try to figure out why.
Hope this helps!
A few random ‘bits and bobs’ to get you in the right headspace for tomorrow’s brief workshops on Story Logics and Practice/Research…
If you’ve not already bookmarked FilmSourcing, you should get on that. Many of the resources are geographically-placed (e.g. contracts for UK or US, templates based on funding from UK agencies, etc), but those that aren’t should come in very handy for planning any and all kinds of film projects.
Their resource on writing a short film touches on a lot of things that I’ll be going through tomorrow, namely the one core idea, and defining the tone for your piece. If some of you choose to do a polished final work for Project Brief 4, the other points made on this page might be very handy!
Check out this extract on sketching from the book In Studio: Recipes for Systemic Change by Bryan Boyer, Justin W. Cook, and Marco Steinberg. As I’ve said, the sketches do not have to be ‘finished’ or ‘polished’ — in fact, the ‘sketch’ is not remotely the most important thing. What is important is what you’re trying to say about your chosen genre, and how you’re testing that out in the sketch, and backing it up with extra research in your exegesis.
Speaking of the exegesis, I’ll be referring to the three ‘models’ or types of exegesis that Milech and Schilo discuss in their great article ‘Exit Jesus‘. It’d be worth having a quick glance over their definitions this afternoon if you can.