104810 - CINEMATOGRAPHIC DIRECTION

Subject type: Optional

Coordinator: Maddalena Fedele

Trimester: Second term

Credits: 6

The subject is an approach to what direction means in the different fields of audiovisual, from cinematic narrative to purely artistic discourse.
It is divided into 3 blocks, each of which will deal with a different area, forming between them a theoretical-practical overview of what the direction means in the audiovisual.

The final objective of the course is to make a short film in groups. The 3 blocks and their practices will transversally support this end.

Know what it means to direct in the audiovisual, to generate sensitive individuals and willing to express themselves.
Familiarize students with the methodology of management and decision making.
Reinforce audiovisual language techniques.
Consolidate teamwork.

Classes will be structured from a combination of theory and practice. The teaching staff will introduce the concepts from audiovisual examples that will give reason to the practical exercise. This exercise will start from the classroom and may have its development outside of it.
The exercises will be monitored and corrected during class hours in order to generate a critical dialogue between students and teachers.

It is important to follow the final short film project from the 3 areas (narrative, directing actors, artistic expression).

BLOCK A:

CINEMATOGRAPHIC DIRECTION I

(RAFA DE LOS ARCOS)

A.1
Introduction to the idea of ​​direction.
1.1: empathy in the audiovisual
1.2: what the films are about, the expression of the filmmaker.

A.2
Direction vs. realization.
2.1: narrators and directors
2.2: the basic audiovisual language: writing with images.

2.2: the transmission of ideas and the transmission of emotions
2.3: learn to look

A.3
The original expression in cinema.
3.1: generate an idea from personal reflection
3.2: process of writing an original idea

CINEMATOGRAPHIC DIRECTION II (ALEJANDRO MARZOA)

A.4
Facing a project.

4.1: The gestation of the idea -themes
-motivations
-the choice of the type of project -the decision-making

A.5
Project development.
5.1: How are projects brought to reality?
5.2: Finance and industry, expectations and realities.
5.3: Artistic technical teams, the importance of the departments and the decisions on this subject. Management analysis from departments.

5.4: Interpretation of a script, what do the scripts mean at the direction level?

A.6
The breakdown of the script.
6.1: What do the scripts at the production level mean?

BLOCK B

ACTOR DIRECTION
(CARLOTA FRISON)

B.1
Introduction to the nomenclature of interpretation, fundamental concepts.

1.1: Feeling, listening, imagination, energy and risk.

1.2: The importance of the adjective and the verb. 1.3: The body

B.2
Schools and interpretation techniques.

2.1: Stanislavsky, Strasberg, Meisner, Grotowski, Lepage, Meyerhold, Lecog, Brook, Artaud, Brecht, Boal and Barba.

B.3
Ways of approaching interpretive work.
3.1: casting, rehearsals and filming.

3.2: the language of the actor, how to address the professional interpreter.

BLOCK C

OTHER AUDIOVISUAL DIRECTIONS (XIANA GÓMEZ)

C.1
Cinema as an artistic discourse

1.1: authorship, language, originality and authenticity.

C.2
Limits and boundaries of cinema.
4.1: possible conventions and techniques.

4.2: transversality with other artistic languages.C.3
Development of a short film project from an authorial point of view.

BLOCK A:

Activity 1: Character exercise and its conflict.

Activity 2: Pre-existing frame analysis from the direction point of view. 

Activity 3: Development of a short film project by working groups. 

Phases:

Synopsis

Sequenced ladder

Literary script

Technical script

Location dossier

Casting dossier

Final dossier that includes all the previous sections.

Final editing of the short film and presentation (pitching)

Activity 4: Individual written reflection.



BLOCK B:

Activity 5: Interpretive analysis of a sequence of the short film to be shot.

Activity 6: Along with a professional actress, the chosen sequence of the short film they will make will be put into practice. We will work on how to address the actor / actress and the specific situations that may arise in the different processes.



BLOCK C:

Activity 7: Creation of a short audiovisual piece (1-2 minutes) of creation, including: 
- reflection on the creative process
- proposed synthesis and visualization of the process itself
- creation and presentation of a propositional piece, through own or other people's materials

EVALUATION SYSTEM

BLOCK A (45%)

10% activities prior to the development of the short film (analysis of a pre-existing frame and character / conflict exercise) 

35% short film development (group activity, delivery 21/03), the grade is calculated:

 - 10% Final dossier (synopsis, sequenced schedule, script, technical script, locations and casting)

 - 20% Short film ("final" editing)

 - 5% Presentation and final conclusion (presentation pitching)



BLOCK B (15%)


15% Direction of actors. The grade is calculated:

-10% delivery of written work by actors during the creation of the short film (group note).

-5% acting direction with the guest actress (group note). 



BLOCK C (10%)

10% Other cinemas: 


- 10% short piece of creation 


PARTICIPATION / INDIVIDUAL NOTES


15% individual written reflection (delivered on 21/03)

15% attendance (individual grade of general attendance throughout the course)

Filmografia

(works to which reference will be made during the course of the subject)
Block A:
Alien, the Eighth Passenger (Ridley Scott, 1979)
Between drinks (Alexander Payne, 2004)
The Wrestler (Darren Aronovsky, 2008)
Catch Me If You Can (Steven Spielberg, 2002)
Two Lovers (James Gray, 2008)
Elephant (Gus Van Sant, 2003)
Kramer vs. Kramer (Robert Benton, 1979)
Up in the air (Jason Reitman, 2009)
Paris, Texas (Wim Wenders, 1984)
Gloria (Sebastián Lelio, 2013)
Searching for Sugar Man (Malik Bendjelloul, 2012)
Children of Men (Alfonso Cuarón, 2006)
Munich (Steven Spielberg, 2005)
The tree of Life (Terrence Malick, 2011)
2001: A Space Odyssey (Stanley Kubrick, 1968) 
Two days, one night (Jean Pierre Dardenne, Luc Dardenne, 2014)
Annie Hall (Woody Allen, 1977)
500 days together (Marc Webb, 2009)
Butch Cassidy and the Sundance Kid. George Roy Hill (1969)
X-Men First Class. Matthew Vaughn (2011)
Between the Walls. Laurent Cantet. (2008)
The Little Handkerchiefs. Guillaume Canet (2010)
The Weather Man. Gore Verbinsky (2005)
Block B:
A tram called desire. Elia Kazan (1951)
The American night. François Truffaut (1973)
pickpocket Robert Bresson (1959)
Playtime. Jacques Tati (1967)
Block C:
Under construction. Jose Luis Guerín (2001).

McKee, Robert. The Script. Alba Editorial. 2002.

STANISLAVSKI, Constantin. The construction of the personage, Madrid: Publishing Alliance, 1999.

COLOM VALLS, Irene. Marketing and application of communication in popular music. Barcelona: Editorial UOC, (2013). 148 p

Carver, Raymond. 3 yellow roses. Anagram. 1988

Lumet, Sidney. This is how movies are made. Editorial Rialp 1999.

SERNA, Assumpta. The work of the film actor, Madrid: Chair, 1999

VIÑUELA SUÁREZ, Eduardo. The video clip in Spain (1980-1995): Audiovisual gesture, discourse and market. 

CRUZ, NANDO and alter. Culture in tension. Green Ray. Barcelona, ​​2016,

Lowenstein, Stephen. My first film: Take 2. Alba Editorial, 2009.

Savater, Fernando. Ethics for Amador. Ariel, 1991.

SUBIRÓS, Pau. The accidental producer. Anagram. Barcelona, ​​2015.