Significant Cinema: The Scene of the Crime
Lecture by Murray Pomerance
Tuesday, February 26
Surely there are things and events that are not significant (at least for those of us who are not paranoid). As readers and interpreters of our surround, although like Hamlet we may be so ravenously hungry as to “eat the air, promise-crammed,” we sometimes exhibit the capacity to experience without finding or creating meaning. Tasting the flavour of an apple, for example, can be pleasurable without calling for interpretation; looking at some of Cézanne’s apples can affect us the same way. While it is always mechanically possible to discover and point out a pattern, we sometimes forebear to do so in the name of discovering and pointing out a still greater or more pressing pattern instead, or in the name of establishing a balance with the universe that gives momentary release from the pressure of understanding, momentary delight. When we do set ourselves to discovering and reading signs every sign, as we call it, is taken to be the product of a signification and also the object of a “signing,” that is, a more or less intentional interpretive act that bounds and selects certain demonstrative possibilities in the context of prevailing norms and intentions. Since it is in our perceptually immediate surround, our Umwelt, that we “sign,” it is worth mentioning what Erving Goffman points out in Relations in Public: Microstudies of the Public Order, that this territory is the home of not only meaning but also danger. Every dedication of interest to an occupation of reading and decoding, then, every scanning of our environment, opens us in ways we cannot at the same time carefully estimate–as the tiger sequence in Francis Ford Coppola’s Apocalypse Now (1979) pointedly shows.
excerpt from: http://sensesofcinema.com/2011/feature-articles/significant-cinema-the-scene-of-the-crime/
A new crop of DVDs are in at the Media Lab, including:
Trouble In Paradise
The Little Foxes
¡Que viva Mexico!
Any students or staff in the Department of English, Film, and Theatre are welcome to borrow DVDs from the Media Lab. Find a full list of titles here.
Convert your DSLR footage using these two methods if the log and transfer option fails with FCP7.
**You always want to use FCP7 to transfer your files to maintain codec/file structure**
and if that fails, you can use Adobe Media Encoder.
Use the Apple Prores 422(LT) conversion with FCP7. This will ensure no rendering/exporting issues.
From Oct 20 – 27th, a feature film from Mexico will be filming at the University of Manitoba. They are looking for U of M students to participate. Please see their call for extras:
Here is a link to the video shown in our last workshop. It teaches everyone how to break up a script, shot list and storyboard.
The 1st assistant director (AD) works with the director of photography to organize the shots by camera setup. Shots are organized by scene numbers and shots (letters). That is organized into a camera shot list. A template can be downloaded here.
A quick view of what is available at the Media Lab.
The Lab is open to all students and faculty in the Department of English, Film and Theatre at the U of M.
For more info, see the Lab’s website
Here’s a quick review of yesterday’s workshop.
“Visualization is the interaction of two types of activities: immediacy and reflection. In film, immediacy means devising the content of the shots and their order in a sequence in a single, uninterrupted process. The goal is to evaluate the materials moment to moment as they are shaped, trying many combinations of ideas and comparing them instantly.
Reflection is really nothing more than a good night’s sleep between drafts of a screenplay, versions of a storyboard or rehearsals with the cast. Reflection is the process that restores balance to the intense and myopic relationship to the materials that immediacy produces. Visualization must include hands-on picture making in some tangible medium. Making ideas visible before they are out in front of the camera are a necessity.
From the moment a script exists and work commences, the director should stive to make every shot and every sequence count. Relinquishing this task to others is not what is meant by collaboration. Cinematographers and editors do their best work when the director is contributing and setting high standards for design.”
- Excerpts Taken from Film Directing Shot by Shot.
A very big congratulations to Justina Neepin, graduate of the U of M, who won the first annual RBC Emerging Filmmakers Competition at the Gimli Film Festival.
Neepin was awarded $10,000 after successfully pitching her film, MARK, in front of a panel of judges.
For more details, see the official announcement on the Gimli Film Festival site.
The Film Studies program proudly presents the premiere screening of the film the Assignment.
The Assignment is a feature length film that was created by the film production course in 2010-2011. Check out their facebook page for more information about this screening and to view trailers!
The Assignment, a feature film created by U of M students in the Film Production Course, will soon be available for viewing!
Visit the official website for The Assignment.
Film Production (FILM 3270) is an intensive, groundbreaking course that exposes students to all stages of film production: development, pre-production, production, post-production and distribution. Using the feature film as our model, filmmaking is explored through a collaborative project. The Film Production course will be offered again starting in September 2012.