| | Searching Current Courses For Fall 2016 |
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Course: |
FVM 150
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Title: | Development Film Expression |
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Long Title: | Development Film Expression |
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Course Description: | Examines the nature and structure of Film/Video expression,
concentrating on the way directors, editors, and cinematographers use
visual techniques to serve the narrative. Students watch films in their
entirety and then analyze them for their lighting, composition, camera
position, movement, lens, depth of field, use of screen space, placement
of performers, and editing techniques. |
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Min Credit: | 3 |
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Max Credit: | |
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Course Notes: | Previously FVT 150 |
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Origin Notes: | CCA |
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Status Notes: | Revisions made 10/23/09 s@ |
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¿ Discuss the historical development of the ¿language¿ or expression that is unique to motion picture media.
¿ Discuss the mechanics and effects of cinematic illusion and its service to the narrative such as the role of the frame/movement within the frame, creating a world outside the frame, continuity of action, camera position/crossing the axis, parallel action, time deletion/expansion, rhythm cutting, pacing, the role of the long shot, medium shot, and close up, creation of visual expectation and its reward/denial, the role of the significant image, the ¿law of threes¿, slow disclosure, the meaning of straight cuts, fades, dissolves & wipes, cutting on sound, the role of high and low angles, the power of screen graphics, wide angle vs. telephoto effects, deep and shallow focus, high key/low key lighting and mood, the effect of the moving camera, genre conventions, and the brilliance of conscious filmmaking.
¿ Evaluate the subliminal technical inputs that manipulate audience reactions to film/video narratives.
¿ View a film each week and analyze it with a stop motion tape; laser disk or DVD player to deconstruct directorial decisions noting expressive successes and failures.
¿ Observe the shadings in each instance of the historical dialectic between Eisenstein¿s montage theories and the advocates of Bazinian ¿mise en scene¿ ¿ having their roots in Murnau and the Kammerspiel film movement.
A. View a film each week
1. Analyze the film
2. Deconstruct directorial decisions
3. Note expressive successes and failures
4. Observe the shadings in each instance of historical dialectics
B. Reading assignments each week
1. Test each week
C. One shot analysis (midterm)
1. Contain terminology and formats
2. Aspect ratio
3. Shot size
4. Sound
5. Screen Quadrants
6. Contrast Dominants
7. Character Movement
8. Character Proxemics
9. Camera Movement
10. Camera Angle
11. Lens Used
12. Depth of Field
13. Lighting
14. Color Usage
15. Screen Graphics / Composition
16. Editing Style
17. Time
18. Subtext
C. Final Analysis
1. Contain terminology and formats
2. Aspect ratio
3. Shot size
4. Sound
5. Screen Quadrants
6. Contrast Dominants
7. Character Movement
8. Character Proxemics
9. Camera Movement
10. Camera Angle
11. Lens Used
12. Depth of Field
13. Lighting
14. Color Usage
15. Screen Graphics / Composition
16. Editing Style
17. Time
18. Subtext
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Community College of Aurora |
CCA |
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