March | 2018 | Gianella Rodriguez

Picture This! Assessment 2 Index Post

Prompt #1 Drawing on your audiovisual storytelling explorations so far, discuss this quote from cinemal scholar Chris Dzialo: “screenplays should be experienced […] as a form of cinema itself” whereby “both, although via opposite polarities, are audio-visual (the screenplay cueing the images and sounds in our mind)” (2009, p. 109). Reference: Dzialo, C 2009, ‘“Frustrated Time” narration:…

REWRITING NARNIA

As I mentioned in my last blog post, we looked at a section from the movie ‘Up’ and attempted to write our own screenplay for it. I enjoyed this exercise and wanted to have another go at it. I was going to write something for Wall-E because it’s one I’ve mentioned in another blog post,…

LOOKING AT ‘UP’

In class we looked at the opening sequence of Up and, in groups, attempted to write our own screenplay of a section in the sequence. My group (if you can call two people a group) wrote on the first 22 seconds. UP BEGINNING SCENE INT. CHURCH – DAY A camera flashes. Scene cuts to…

TELLING A STORY WITHOUT DIALOGUE

Pixar are masters at telling a story without dialogue. All you have to do is watch the opening scene of Up or the opening scene of Wall-E to see how well they do it. These two examples were brought up in class as we looked specifically at sequences in films that contain no dialogue. This…

WRITING A TREATMENT

At the giant chess boards that decorate the forecourt of the State Library, a girl stands – puzzled – at the game of chess going on in front of her. It is just past noon and the forecourt bustles with students and tourists alike. It is just her luck that she is in front of…

CUEING THE IMAGES AND SOUNDS IN OUR MIND

Drawing on your audiovisual storytelling explorations so far, discuss this quote from cinemal scholar Chris Dzialo: “screenplays should be experienced […] as a form of cinema itself” whereby “both, although via opposite polarities, are audio-visual (the screenplay cueing the images and sounds in our mind)” (2009, p. 109). Reference: Dzialo, C 2009, ‘“Frustrated Time” narration: the screenplays…

LOOKING FORWARD

I should’ve done this at the beginning of Week 1. Oh well, better late than never. What do I want out of this studio? What am I expecting from this studio? It’s always good to write about things like this at the beginning so you can look back on it at the end. From what…

COMMUNICATING THE POTENTIAL FILM

“Reflect upon an influential text (e.g. a reading, or a screening) you encountered during the studio, and discuss it in terms of your own developing practice. This might be (but not limited to), how it introduced you to new ideas. Or, how it changed or reinforced your previous ways of working. Or, how it inspired…

‘RULES’

If you take a page out of any screenplay and glance over it, it would seem pretty straightforward. There are headings describing setting and headings indicating which character is speaking. There is text describing actions and text telling us what the character is saying. You put those four components together and you almost have yourself…

A SCREENPLAY WAITS FOR THE CAMERA

Prompt: I learned something in the studio that highlighted my previous experience/lack of previous experience with screenwriting… – On a scale from ‘I have never read or touched a screenplay in my life’ to ‘I have decades of screenwriting experience and have won many accolades for said screenwriting’, I’m a solid ‘I know what screenplays look like but…