20th Sep 2016 Lecture
Lizzie Thynne is a film maker worked in the Department of Media and Film in sussex since 2001 she has worked in multiple different film festival including for the first UK Lesbian and Gay Film festival.After studying study film and television production as a post-grad at Bristol (1990 - 91), she worked on both factual and drama projects for Channel Four and ITV she then while studying phd was redundant. She turns to work as a researcher
She Mentioned a few points in the lecture that i find particularly useful, interns of how to show, arrange, and trick audience in to the directors ideas through film language, sound, transitions
- Form makes us understand meaning of a film, it evokes feelings
- use of speech or lack of dialouge
- characterisation plays a huge part in films
- characterisation plays a huge part in films
-with a lack of character speech, music, and sound plays a huge role in her particular example Brighton Symphony of a city, it employs a orchestra that plays through out the film like the inspired Berlin sympothny
A quote she mentioned
"there is a clash between material and concept that occurs during the first day of filming – what you do with this clash is critical" joris Ivens
I feel this quote can be used in other areas anything that one creates have to go through the concept when you first combine your idea in to materials, how to fit the pieces together is very critical. The idea of material and concept struck me i will further research on this idea how these two can be link together.
A film is a process of learning to have characters challenges adapt to the viewers this will evoke feels, emotions, sensual.
Sound
Use of classical music in film is common but certainly harder to edit on rhythm as requires more planning and imagination on the visuals of the track, a example of good use of classical music a clockwork orange. Tokyo city symphony, man with a movie camera dqiga vert 1929
In the opening scene of A Clockwork Orange Stanley Kubrick used plain red and slowly building up theme song with credits his name was shown on a blue contrast creates contrast as audience is used to the red on the screen. It follows the first shot of the main character close up slowly zooms out to reveal characters, location, with a monologue of the main character catches audience attention, and provide most information for the audience to understand what is going to happen, at the same time gain understanding of the characters agenda and what they think. This use of reveal is particular interesting in film language as image often trick audience eyes in to seeing different parts of the films, often film directors often deliberately place different objects and hint with in the cinema frame, it is often this dialogue between the director and the audience that creates tension and evoke emotion in a film.
George O Keefe flower Painter
New York Manhattan City Portraits Female painter of the 20th century particuarly famous for her painting of abstract flowers with a pale color palette, and her city portraits which particularly captures the angles of urban life, with the use of golden ratio, creating stunning images of 20s, 30s new york.
Lizzie was particular interested in the framing and composition of the city landscapes as they provide inspiration for her work on the Brighton Symphony
This particularly inspired to find more relatable art from different media as reference in order to create a project that is multi perspective, and can be seen in different perception.
Refrence and inspiration often seems to come from things out of the same medium for instance in film, they find inspirations in paintings, photography, all areas of art.
Lizzie was particular interested in the framing and composition of the city landscapes as they provide inspiration for her work on the Brighton Symphony
This particularly inspired to find more relatable art from different media as reference in order to create a project that is multi perspective, and can be seen in different perception.
Graphic Match Cut is also mentioned in her lecture particularly diagonal graphic match cuts
graphic match cut transitions has particularly been my favourite transition techniques as it tricks the audience in to a frame to frame transition, that the audience could almost feel like traveling in a dream, creates blur of reality and fantasy and can often create metaphors and imagery through specific graphic match cuts.
Further Research: Satashi Kon
Satashi Kon Editing Space & Time
Satashi Kon is a japanese animator which is very often uses graphic match cuts in his films
in this Satashi Kon Editing time & Space, it explains and how some of the editing were used, and for what purposes.
list of Cuts used in his films Paprika
-Match Cut where one movement cuts to another
-Graphic Match Cut where two cuts have the same graphic properties
-Two different time zone scene which mirror each other
-rewind the film
-cross the line from tv
-use black frame jump cut
-use objects to wipe the frame
These transitions are particularly interesting as audience are much harder to predict the transition of the film, compared to straight cuts. this enhance mood and often creates excitement, as things seem to happen in a much faster pace.
establishing shot in to a point of view with out the audience noticing had already brought you in to the world of the character. Kon was constantly revealing one image that was not what you thought it was
This way of bringing the audience in to the characters point of view with out the audience noticing, this way of story telling may actually have the audience be able to relate to the film and characters with in. Kon treatment of character death is very visual and clear, mans death was metaphor as the windmill hut outside of his house it stops when the character dies, it even tricks audience when he come back to live for two seconds before the character actually die with the windmill stop symbolising.
He would put back to back transition while the audience was not comfortable with the scene the scene had already change, he would skip out part of the scene for instance a character sees an object, does not take it in frame, but reveals the object again in latter part of the story. This way of pacing story and transiting is not very often seen in live action films. Kon build his style through this match cuts strong variation in fast pace opening, and slower shots of streets, constantly placing audience on their toes.
graphic match cut transitions has particularly been my favourite transition techniques as it tricks the audience in to a frame to frame transition, that the audience could almost feel like traveling in a dream, creates blur of reality and fantasy and can often create metaphors and imagery through specific graphic match cuts.
Further Research: Satashi Kon
Satashi Kon Editing Space & Time
Satashi Kon is a japanese animator which is very often uses graphic match cuts in his films
in this Satashi Kon Editing time & Space, it explains and how some of the editing were used, and for what purposes.
list of Cuts used in his films Paprika
-Match Cut where one movement cuts to another
-Graphic Match Cut where two cuts have the same graphic properties
-Two different time zone scene which mirror each other
-rewind the film
-cross the line from tv
-use black frame jump cut
-use objects to wipe the frame
These transitions are particularly interesting as audience are much harder to predict the transition of the film, compared to straight cuts. this enhance mood and often creates excitement, as things seem to happen in a much faster pace.
establishing shot in to a point of view with out the audience noticing had already brought you in to the world of the character. Kon was constantly revealing one image that was not what you thought it was
This way of bringing the audience in to the characters point of view with out the audience noticing, this way of story telling may actually have the audience be able to relate to the film and characters with in. Kon treatment of character death is very visual and clear, mans death was metaphor as the windmill hut outside of his house it stops when the character dies, it even tricks audience when he come back to live for two seconds before the character actually die with the windmill stop symbolising.
He would put back to back transition while the audience was not comfortable with the scene the scene had already change, he would skip out part of the scene for instance a character sees an object, does not take it in frame, but reveals the object again in latter part of the story. This way of pacing story and transiting is not very often seen in live action films. Kon build his style through this match cuts strong variation in fast pace opening, and slower shots of streets, constantly placing audience on their toes.
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