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Sensory Cinema
- 1. Le Cinéma, cent ans de jeunesse 2019/20 edition: ‘Sensory Cinema’ https://bit.ly/
- 2. CCAJ:basicstructure Maximum length : 25 weeks, at 1-2 hours per week Minimum viable length – 12 weeks/ 1 hour a week Mixture of watching clips/ discussion, and making: 3 short film-making Exercises and a final 5-8 minute film Option of feature film viewing Viewing all films at BFI Southbank Monday 29th June (Lincolnshire films) and Friday 26th June (London films)
- 4. IT COULD BE.. (but these ASMR videos aren’t on M. Bergala’s list!) SENSORY CINEMA https://www.youtube.com/watch?v=xaHjQfVfxM4
- 5. IT COULD BE.. Portrait of Ga SENSORY CINEMA https://www.youtube.com/watch?v=xwGNAIbe-xQ
- 6. What range of sensations do we experience? An example of each from a film you know.. What is your earliest sense memory? How would you film it?
- 8. SENSORY CINEMA: Senses into Feelings Light & shade Moving objectsjarring Homesickness/ longing Wet, dry heat/ cool/ warmth Weight and force movement
- 9. ANALYSING SENSATIONS The five senses Movement and height/ vertigo Time and tension/ anxiety Character sensations/ point of view Characters disconnected from feeling Sensation and place Sensation and memory
- 12. HOW SENSES TELL STORIES SETTINGCHARACTER STORYMOOD Sound: Image:
- 13. A film that does it all: Lifelines, Erice https://cloud.cfav.fr/index.php/s/MJtqH7AfTAt92Mz?path=%2F0.%20Introduction#
- 14. ‘Pure’ Sensation Arabesques, Dulac, 1929 Anticipation of the Nigt, Brakhage, 1958
- 15. Sensations and character: les Petites Fugues
- 16. SENSATIONS AND PLACE Beau Travail, Denis, 1999 AGA, Lazarov, 2018
- 17. ‘DISCONNECTED SENSATIONS’ Stromboli, Rossellini, 1950 Germany Year Zero Rossellini, 1947
- 19. SUBJECTIVESENSATIONSWalden, Mekas, 1968 Post Tenebras Lux, Reygadas, 2012 Marnie, Hitchcock, 1964 Makala, Gras, 2017
- 20. Exercise 1 Paying attention to everyday sensations - Individual Exercise Choose something from your everyday life and, using sound and images, represent the sensations that it creates in you. For example, you may choose an element of a journey that you make every day as you go from home to school : things such as a set of traffic lights, the town square, a wall, a door, or perhaps a tree or an animal – that sort of thing. (no music, no speech). 2 mins length max.
- 21. Exercise 2 The creation of sensation from different senses – Exercise for Small Groups Identify a space to explore. Each group then chooses a sense (sight, hearing, smell, touch, taste, combined or mixed senses) to interpret it and bring it to life by using sounds and images. Music and speech are allowed in this exercise. In each group the first shot is taken by one student, the camera is then passed on to another student and they take a shot in the manner that they wish, it’s then passed on to another until everyone in the group has had a turn. Before filming their shot, the students are only allowed to see ONLY the shot that comes before theirs. Each sense should last a max of 2 mins.
- 22. Exercise 3 Sensation and Music – An exercise for large or small groups The teacher or filmmaker chooses a piece of music (no songs, instrumentals only). They imagine a ‘rule of the game’ so that the students then make a film in response to the sensations that they experience in listening to the music. 2 mins length max. NB, we might nominate the piece of music and ask everyone to follow it.
- 23. Final film This year the group film will have a free but mixed form - it can cross the borders between documentary, experimental and fiction filmmaking. Ideally it will be made of elements from two of these three forms. The sensations will not be expressed by dialogue, but by the choice of location, framing, sound, rhythm, light, materials and other factors. Each film will feature: • Sensations as perceived by a person (or persons) • Sensations which are disconnected from the people on the screen but which relate directly to the viewer. 7-8 mins max (including titles)
- 24. In the experimental mode.. Walden, by Jonas Mekas Arabesques, by Dulac Anticipation of the Night, Brakhage Portrait of Ga, Margaret Tait Hale County, This Morning, This Evening, Ramell Ross
- 25. Links https://markreid1895.wordpress.com/ https://cloud.cfav.fr/index.php/s/MJtqH7AfTAt92Mz Password ‘sensation’ NB, clips not cleared for age suitability – check first! https://bit.ly
Notes de l'éditeur
- Try it out: THE DIFFERENCE BETWEEN A THING THAT HAPPENED TO YOU RECENTLY, AND A SITUATION IN A STORY
- Try it out: THE DIFFERENCE BETWEEN A THING THAT HAPPENED TO YOU RECENTLY, AND A SITUATION IN A STORY
- Try it out: THE DIFFERENCE BETWEEN A THING THAT HAPPENED TO YOU RECENTLY, AND A SITUATION IN A STORY
- Try it out: THE DIFFERENCE BETWEEN A THING THAT HAPPENED TO YOU RECENTLY, AND A SITUATION IN A STORY
- Others? Brainstorm; and in books? In culture more generally?
- first clip; no subtitles
- Makala, what’s his story, where’s he been, where’s he going? the sequence and duration of shots;
- devise some common film situations that can be shot in school