Screen Grammar - Week 2 Recap
Screen Grammar
* Every so often when you have time, make yourself aware of the different aspects of your consciousness and decide what film language would best serve your stream of consciouness.
* What did your consciouness make you do? (Move in, move away, avert your eyes, listen, think, remember...)
* Pretend you are handling a camera in everyday life and line up shots. Determine their aspects and motivations according to the emotional context of an Observer.
* Practice seeing every shot for its connotations, not just denotation.
* Loook for metaphors or symbols in movies and analyse whether they are organic to the situation or imposed.
* Make yourself classify shot juxtaposition by their type, such as illustrative, counterpoint, contradiction, associative, tense-shifting, and etc.
* See how established directors handle the axis, particularly crossing the scene axis. Multiple characters scenes with a number of character or camera moves can get very complicated.
* Practive dividing up scenes in everyday life into their possible axes (subject-to-subject, and observer-to-subject). You may want to unobtrusively scan from different vantage points.
* Make yourself aware of what makes a scene discrete. (Is it defined by time, location, mood, other?)
* Screen language imples a particular intelligence, grappling with events in which it also participates.
* Notice when composition on the screen is being adjusted because of changing internal elements.
* See a feature film and count how many types of scene or time transitions it uses.
* Notice when visual rhythm is inherent to the subject matter or when it is being varied for authorial reasons.
* Notice external compositional relationships (the juxtapositional commentary created by two compositions cut, dissolved, or otherwise associated together).
* Every so often when you have time, make yourself aware of the different aspects of your consciousness and decide what film language would best serve your stream of consciouness.
* What did your consciouness make you do? (Move in, move away, avert your eyes, listen, think, remember...)
* Pretend you are handling a camera in everyday life and line up shots. Determine their aspects and motivations according to the emotional context of an Observer.
* Practice seeing every shot for its connotations, not just denotation.
* Loook for metaphors or symbols in movies and analyse whether they are organic to the situation or imposed.
* Make yourself classify shot juxtaposition by their type, such as illustrative, counterpoint, contradiction, associative, tense-shifting, and etc.
* See how established directors handle the axis, particularly crossing the scene axis. Multiple characters scenes with a number of character or camera moves can get very complicated.
* Practive dividing up scenes in everyday life into their possible axes (subject-to-subject, and observer-to-subject). You may want to unobtrusively scan from different vantage points.
* Make yourself aware of what makes a scene discrete. (Is it defined by time, location, mood, other?)
* Screen language imples a particular intelligence, grappling with events in which it also participates.
* Notice when composition on the screen is being adjusted because of changing internal elements.
* See a feature film and count how many types of scene or time transitions it uses.
* Notice when visual rhythm is inherent to the subject matter or when it is being varied for authorial reasons.
* Notice external compositional relationships (the juxtapositional commentary created by two compositions cut, dissolved, or otherwise associated together).
posted by S10021950 - D.W. at 9:00 PM
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