Showing posts with label Photography in Film. Show all posts
Showing posts with label Photography in Film. Show all posts
Photography in Film: The Photographer as Filmmaker II
- William Eggleston's - Stranded in Canton
- 70 min edit from over 30 hours footage
- Document is also a documentary
- There is additional info by Eggleston's voice
- Black & White?
- Some captions
- Some voice over
- Definitely an insider
- Editing - birds head - burger
- Title often repeated out loud by cast
- Captions about the cast in credits (deaths etc)
Photography in Film: The Photographer as Filmmaker
- Photographers who also made films
- Latching onto events/issues
- What is lost? What is gained? Enhanced? Sound? Carried through?
- Man Ray - Surrealist/Avant garde
- Photography Intervention:
- Led to Impressionism/Expressionism
- Cubism - various planes (trying to out do photography)
- Dadaism - anti-art. Attack on art practice
- Surrealism - playing games, challenging expectations
- Surrealist Film - deconstruction form. Free & exciting
- Doesn't have to make sense
- Andy Warhol - Critique & celebration of culture
- Relationship with minimalist art. Is it boring or are people boring?
- Screen Tests (500). Bolex - 2mins 45secs
- William Eggleston - Stranded in Canton
- Ed Ruscha - Gas Stations (Link back to Dada)
- Every single building on Sunset Strip
- Maysles Brothers - Direct Cinema
- Remove polemic (by removing talk over)
- Larry Clark
- martin Parr
- Framed through the still image
Photography in Film: Blow Up
- Michaelangelo Antonioni
- Italian Neo-Realsim
- Antonioni's leisure - too much time to think
- Realisation of time passing
- Looking at Blow Up (1966)
- Next week - Screening
- Week after - Seminar
Photography in Film: Rear Window
- Tutorials?
- How is the photographer represented?
- Photographer as hero - Mad Dog & Glory
- Recommended films:
- The Bridges of Madison County (1995)
- The Picture Snatcher (1933)
- The Eyes of Laura Man (1978)
- The Public Eye (1992)
- Peeping Tom (1960)
- High Art (1998)
- Fur (2006)
- Rear Window (1954)
- Hitchcock - Iconic Figure
- Voyeurism
- Rear Window - Spatially Remote
- Edward Hopper - Twentieth Century Painter - Painted the City
- Anemphathetic sound - music that is indifferent to on–screen action
- Campany quote - 'involved but apart'
- Scopophilia - see Mulvey Essay - 'Visual Pleasure & Narrative Pleasure'
- Klute (1971)
- Body Double (1984)
- One Hour Photo (2002)
- Disturbia (2007)
- Screening - 'The Making of Rear Window'
- Screening next week of Rear Window
- Jazz Music soundtrack
Photography in Film: Flags of our Fathers
- Essay - Harvard Referencing Style
- Revisionist westerns - darker in tone/more troubles/apologetic (to native american)
- Flags of our Fathers
- Eastwood a huge fan of John Ford
- Raising of the Flag - Photo by Joe Rosenthal
- Fenton, Brady, Capa, Lee Miller, Kevin Carter
- 'Before the Rain', Salvador, Killing Fields, Apocalypse Now
- Assignment 13th January
- Read around the subject
- Notions of truth, memory, identity
- Sontag, Berger, etc
- Framework - starting point
- Don't tell me what happens! Assume reader knows the film.
- Discuss, argue, engaging, interesting
- Bibliography - internet sources ok, but balanced
Photography in Film: Documentary II
- Sally Mann - 'What Remains'
- Documentary gives us a film about a still subject
- Who is the auteur of the film?
- Filmmaker making a film about a photographer who they are a fan of
- (A scholar of Mann's work)
- Perspective of the filmed (through Mann's camera)
- What, Why, How?
- Emphasis on the locale
- Endorsement
- The things that are close to you - best
- Make art out of the ordinary
- 'Art is everywhere'
- Explore project from two different angles
- End show with uplift - living faces at 'death show'
Photography in Film: Documentary I
- Sally Mann Film - 'What Remains'
- Annie Leibovitz - 'Life Through a Lens'
- Produced by allies!
- Acutely visually aware
- How does filmmaker remain auteur or does the subject take control?
- Rather than looking at them we are looking through them at the world
- Show from viewpoint = Take the viewpoint
- Less critical of the subject
- Leibovitz - highly cinematic
- Biography
- Commands & manipulates the subject
- She has a vision. She is an auteur in her own right
- Life & work are inseperable
- Prolific docementation
- Simple ideas
- Deep breath and move on
- Vanity Fair cover - her work
- The Edward Steichen of vanity Fair
- Talent - she provokes people
- Susan Sontag - complemented each other
- Sometimes you just get a persona
Photography in Film - Seminar: La Jetée
- Original language
- Lack of silence
- Minor key music
- Heartbeat speeds up as do transitions
- Whispering in German
- Key statements made while picture is black
- Emphasis on sound
- 'Museum of His Memory'
- Dateless world
- Peaceful music - endlessness
- Photography is the past
- Cinema is moving and thus the present
- Cinematic
- Look at remake (12 Monkeys) & Vertigo
- Recreating something from the past
- Told from the future
- Time travel makes you nostalgic for the present
- Aid to memory
- Pensive spectator
- People looking at photographs are 'pensive'
- people looking at cinema are 'rushed'
- Different forms of photography - less light in the future
- Noir (ish)
- Who has taken the photos - he is being tracked or he has taken
- Voyeur photos
- The definition is only ever produced in the present
- Future - through and down
- Abstract streets (1000s)
- Portraits
- Future
- Utopia - clean, highly polished
- Dystopia - Dark & ruins
- Show less - Imagine more
- Presenting as photographs given to memory
- Last Year in Marienbad - Alain Resnais
- Film: Hiroshima Mon Amour - Alain Resnais
- Film is still a young art form
- All five questions are relavant
Photography in Film - Lecture: La Jetée
- My notes: transitions vary in length, dissolve and quick cuts, fade to black, pan around the photo, strong commentary, diagetic sounds, non-diagetic sounds, real voices in German? Backing music, heartbeat. Ancient animals - dinosaurs?! Many different angles of the same thing
- What is owed to photography and what is owed to cinema and what crosses over
- Photography - still images (pan, rostrum), duration & time, sound
- Cinema - strong narrative, soundtrack, eyes moving - illusion of present time
- Chris Marker (1962)
- author, movie maker, journalist, animator (documentary film maker)
- French resistance (formative experience to attitude to world)
- Informed by torture at Auschwitz (plus Algeria)
- Politically motivated
- Time/memory
- Low profile - rarely interviews
- Weaves his thoughts into films
- Cultural history - what forms us
- La Jetée - only entirely fictional film
- Deals with fears of the future
- New Wave - low budget films
- Artform - pushing borders, experimenting or dead!
- Left Bank Group
- Saw New Wave as mainstream!
- Alan Resnais/Agnes Varda/Chris Marker
- Marker worked on Resnais' holocaust film 'Night & Fog'
- Films to educate as well as entertain
- Fictional & Documentary
- Melancholic/Nostalgic - Hiroshima - Sans soleil
- Giving voice over influences image
- Stills enhance haunting film narrative
- Photographs are an excellent way to time travel
- Raymond Bellour
- Substituted themselves for my memory
Photography in Film - Seminar: Memento
- Memento questions 1 & 5, then 2
- Actively engaging
- As movie - proof is disproved
- Berger p192 Understanding the photograph
- The Cinematic p135
- Sontag p5
Photography in Film - Lecture: Memento
- Assignment 1 - Essay Memento or La Jetee
- 'Cinema Studies: The Key Concepts' by Susan Heywood
- 'Photography & Cinema' by David Campany
- 'The Cinematic - Documents of Contemporary Art' by Davis Campany
- 'Classic Essays on Photography' by Alan Trachtenberg
- Christopher Nolan - Director - Memento - Film Noir
- Memento - flashbacks are in B&W
- The current is played out in reverse
- 'Neo-Noir' - Nino Frank
- Neo-Noir - Chinatown, Taxi Driver, The Long Goodbye
- Anti-heroes - who do we trust?
- Can't trust anybody!
- Zooming into photographs (Blade Runner)
- Form of truth
- Sontag - Most of the photographs
- Objectivity - truth, unbiased, factual
- Subjectivity - personal feelings, beliefs & desires
- Godard Quote
- Polyscenic - multiple interpretations
- Polaroids from Memento - William Egglestone Style
- Sontag - Fragile Proof
- Essay Tips - Notions of Proof - Subjectivity - Memory & Identity
Photography in Film
Module Aims
This module aims to analyse and evaluate the ongoing and future relationship between photography and film by focusing on a range of filmic representations that use the photograph, photographers and the photographic process as a key part of their narrative.
Intended learning outcomes:
By the end of the module you should be able to:
1. analyse the relationship between the moving image and the still image as they occur in filmic representations;
2. demonstrate an informed understanding of the narrative, iconic and symbolic power of photographs as part of film’s narrative strategies;
3. evaluate the range of representations of photographers in film and identify common themes, structures, forms and patterns and discuss the merging of still and moving images;
4. draw upon your theoretical and practical experience with photography to situate theses filmic representations as part of the history of image-making.
Assessment:
Written work to the value of 5000 words (100%).
1. Essay 1 (2500 words, 50%) will require you to analyse in detail a film screened in the first term through a set of prescribed questions (Learning outcomes 1and 2).
2. Essay 2 (2500 words, 50%) will require you to choose a title that will explore aspects of film narrative, genre, and spectatorship in relation to how the photographer, the photograph or the photographic process is represented. The essay title will have to be agreed with your tutor on completion of an essay proposal form (Learning outcomes 3 and 4).
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