The students learn how to divide the action of a scene into smaller parts. They probe deeper into the function of each of these parts.
Decoupage. The students develop their ability to design the decoupage for a scene.
They learn to choose how to film the action in each part: the position of the camera, the camera’s movement, the type of movement.
They learn to identify a movie’s filming style and to successfully use style in their own films.
* This year, the exercises the students undertook in the workshops sought, on the one hand, to familiarize them with the decoupage process and to consolidate their knowledge of its fundamental elements and concepts and, on the other, to help them understand how style functions in the process of creating the decoupage.
Course Content (Syllabus)
Organizing the action of a scene in time and space. Mise-en-scene.
Decoupage. Decoupage design Examples of decoupage.
What does each shot contribute? Conflict within a shot.
Master shots. Establishing shots, re-establishing shots.
The role of the camera. The position of the camera tells a story.
Symmetry in a scene. Champ contrechamp.
Organizing all the elements in a scene in line with its function in the film. Films and scenes from films are screened during the workshops and their decoupage studied.
During the workshops, the students carry out intermediate exercises (usually four) in which the focus is on the style of the cinematography.
These intermediate (style) exercises are screened.
After each class, electronic notes summarizing everything covered in the class are distributed. The notes remind the students of everything that was said and done in the workshop. They also present elements of the theory and practice of actor training.
Periklis Hoursoglou’s observations on each of the intermediate style exercises completed by the students are also distributed.
Linking shots. Linking scenes.
The one-shot scene. Dead time. Out of the frame.
Storyboard. "Key frames".
Frame composition. Style.
Course Bibliography (Eudoxus)
1. SIETY Emmanuel, Το πλάνο, μτφρ. Σωτήρης Καρκανιάς, εκδ. Πατάκη 2003.
2. ARIJON Daniel, Η γραμματική της φιλμικής γλώσσας Ι&ΙΙ, μτφρ. Βασίλης Βουτσινάς, εκδ. Plano 1986.
3. ΜΑΜΕΤ Ντέϊβιντ, Σκηνοθετώντας μια ταινία, μτφρ. Νίκος Σαββάτης, εκδ. Πατάκη 1998.
4. LANDAU Camile – WHITE, Tiare, 161 Μυστικά για ένα νέο κινηματογραφιστή, μτφρ. Κατερίνα Κακλαμάνη, εκδ. Πατάκη 2008.