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Art and Design: Art Video

Unit 1: Practical 2 Theme: Film Forms

Deadlines
Week 10 (20/11/09) DEADLINE Unit 1 Practical 1 HAND IN

Week 11 Kettle’s Yard Visit

Week 1 Term 2 (05/01/09): Mock Exam Editing

Week 4 Term 2 (29/01/09): UNIT 1 Practical 2 Deadline


HAND IN

Week 5 Term 2 (01/02/09): Tutor assessment of Unit 1


Projects

Week 6 Term 2 (08/02/09) Unit 1 returned for corrections

Week 6 Term 2 (12/02/09) FINAL HAND IN

Week 9 Term 2 (22/02/09) Unit 2 papers handed out

Brief: To produce a film (no more than 10 minutes in length) that draws on
And experiments with one or more of the components of film or film form
(Narrative, sound, music, animation, Text, screen surface, abstraction). For
example, you might choose to experiment with narrative by developing
techniques of using voice-over that both connects and disconnects with your
chosen images. Alternatively you might create an animation that reveals the
illusion of animation itself (Which is of course a series of STILL images).

Your pre-production, practical experiments and film analysis should explore


and reveal the different forms and techniques involved with moving images,
before focusing on a single bigger moving image work that reflects on one or
two that interest you. (For example you may choose to experiment with Text
and narrative).

You will record and document your class work, practical explorations,
research and pre-production in a sketchbook. Therefore, even though you
may not choose a particular ‘film form’ you must still demonstrate to the
moderator that you have studied it and given them due consideration. You
should think of these as chapters to a book and work through them
methodically.

In order they should appear:

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1) Experimental Narrative 4) Abstraction & Colour
and Narration 5) Text
2) Documentaries and 6) Sound
Archive Material 7) Music
3) Animation

Your sketchbook should include:


 A Spider Diagram – exploring all the different elements in the specific
Film form you have chosen
 Film Analysis - Examining one or more films from the film form
including three explicit deconstructions of key scenes, which exemplify
its qualities. You can use photography from the film to illustrate this.
 A Readings Analysis – An examination of one or more readings offered
on or off this course. This should consider its usefulness in helping you
understand the Movement/s more thoroughly and whether it has been
useful in the development of your ideas.
 For the Film Form you pick to apply to your work you must go into
greater
depth and analysis using more material. (Inspirations etc)

Your sketchbook should also include:


 A shot list or script of your film,
 A drawn or photographed storyboard,
 Any photo’s of locations or actors you may use
 A 500-1000 word evaluation of your final film.

COMPLETION DATE FOR BOTH THE SKETCHBOOK AND FILM IS 29TH JANUARY
2010

Use the examples, links and images in this hand out and the
screenings and workshops over the next few weeks to develop a
context for your responses to the theme.

Bibliography

Film History – Kristin Thompson and David Bordwell


Film Art: An Introduction Kristin Thompson and David Bordwell
History of Art – Marcia Pointon
A History of Experimental Film and Video – A L Rees
Art and Film since 1945 – Kerry Brougher
New Screen Media: Cinema/Art/Narrative Rieser, Martin, Zapp, Andrea

Webography

There will be a growing number of links on the Art Video site under Art Video
AS Project Links: http://artvideo.edublogs.org

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Filmography

Sans Soleil & La Jetee - Chris Marker


D.I.A.L. History – Johan Grimonperez
Waking Life – Richard Linklater
Red Dessert – Michelangelo Antonioni
The Conversation – Francis Ford
Coppola
Films of Jayne Parker
Radio On – Chris Petit
Neighbours – Norman Mclaren
Warner Bros Cartoon Collection
The Five Obstructions – Lars Von Trier
Dog Star Man – Stan Brakhage

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