A student who wants to become a filmmaker needs to have a working knowledge of literature, music, theatre, dance, sculpture, the arts in general and, of course, cinema. Given that the Greek university entrance exams do not currently include any subjects with a connection to film (Film History, for example, Scripts or the History of Photography), there is no meaningful criterion on which to grant students admission to the Department.
The students begin to grasp how stories can be told using sounds and images.
They understand that a story’s ‘fundamental conflict’--the cornerstone of its dramaturgy--is present at every stage of the director’s practice.
They learn the rudiments of the film idiom and apply them to small workshop exercises.
At the end of the semester, they make films/exercises in groups (I call this “diving in at the deep end”), using whatever knowledge they have garnered to tell a story. This allows them to develop their particular abilities (talent, powers of observation, sensitivity) using the grammar and syntax of film, while simultaneously gaining an understanding of the importance of collaboration in the cinema.
Course Content (Syllabus)
In film, we tell stories using sounds and images. Film is a language which borrows codes from other arts: photography, painting, theatre, literature, musical, dance, photography, sculpture etc.
An introduction to ‘style. Film analyses.
Film terminology. Rudiments of film language: 3 rules for space, 1 rule for time. ‘Axis’ exercises.
Breaking the action of a film into smaller sections; dividing the action of a scene into smaller parts: Every shot has a function. Preparing for the semester's final projects.
The workshops are accompanied by screenings of films and scenes from films.
Notes are distributed electronically after every workshop which: a) contain a summary of everything said during the workshop, b) states rules and ways of doing things in the context of film practice more clearly.
At the end of the semester, students shoot simple films/exercises in groups of 4, 5 or 6, usually using their own equipment (cameras, lights, booms, microphones), then edit and mix them. The student films are shown on examination day and the students are given feedback, including suggestions as to possible changes they could make.
At the end of the semester, the students shoot a film in groups of 4, 5 or 6.
During the semester, the students do other small exercises--most of them written--in the workshops: E.g. They write a story, turn the story into a screenplay, do decoupage exercises, list the stylistic elements of a given film, plan a three-shot story, conduct a shot-by-shot analysis.
In terms of grading, the final project carries considerably more weight than the interim exercises.
The students’ attendance and participation in workshops is also factored into their evaluation.
Course Bibliography (Eudoxus)
1. GUERIN Marie-Anne, Η αφήγηση στον κινηματογράφο, υπεύθυνη σειράς Εύα Στεφανή, μτφρ. Δώρα Θυμιοπούλου, εκδ. Πατάκη 2003.
2. SIETY Emmanuel, Το πλάνο, μτφρ. Σωτήρης Καρκανιάς, εκδ. Πατάκη 2003.
3. ΜΑΝΣΦΗΛΝΤ Κάθριν, Το γκάρντεν πάρτι, μτφρ. Μαρία Λαϊνά, εκδ. Σμίλη 2006.
4. FREDERIC STRAUSS – ANNE HUET, Η κατασκευή μιας ταινίας, υπεύθυνη σειράς Εύα Στεφανή, μτφρ. Μαρία Γαβαλά, εκδ. Πατάκη 2007.
Additional bibliography for study
Ανάλογα με τις προβολές των ταινιών (ολόκληρων ή αποσπασμάτων), δίδεται επιπρόσθετη βιβλιογραφία.
Ανάλογα με τα αντικείμενα που εξετάζονται στην διάρκεια των εργαστηρίων, δίνονται "υλικά εργασίας" από ταινίες: Είτε υλικά από την προετοιμασία των ταινιών, είτε από το γύρισμα, είτε από το post production (μετά-παραγωγή).