Matching Items (3)

The Cinematic Portrayal of Subjective Experience

Description

Directors make choices on how a movie is film, these choices effect everything in the film and there are multiple factors that go into that decision-making process. Directors usually make decisions based on the entire story and their vantage point

Directors make choices on how a movie is film, these choices effect everything in the film and there are multiple factors that go into that decision-making process. Directors usually make decisions based on the entire story and their vantage point of know everything. For example, a director might choose to make a piece of information known to the audience before the character’s know so that it raises tension. The creative project refers to this type of filmmaking as: “objective cinema”. The alternative is when a director makes decisions not based on the overall story but on the reality of a character(s). That is, filmmaking techniques are used in service of communicating a character’s emotional and situational reality.
The goal of such an exercise is to bring the audience closer to a character, typically the main character. A film is driven by the audience’s connection to the plot and the main character, who is typically the driving force behind the narrative. Having an audience closer to the main character is advantageous to give the audience something personal to latch onto. Getting invested in a single character’s story is a tactic that most films use and while some use traditional filmmaking styles to narrate the film, some put in these subjective moments.
Most movies include a mix of objective and subjective scene; however, the vast majority of screen time is usually objective. Subjective moments are just that, moments within a film where the filmmaking is visually distinct from before in order to communicate the transition into a character’ subjective experience of reality. The process of using cinematic techniques: sound, images and actors to create emotion is the focus of the thesis. What specific techniques do director and other filmmakers use to create these moments from the perspective of a specific character? The research on this creative project included reverse engineering scenes to firgue out the technical specifications that the filmmakers use. What kind of lighting, cameras and sound design where employed? Why were those techniques chosen to represent a character’s subjective reality? And most importantly, why do those techniques evoke those emotions?

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Date Created
2019-05

Three Projects Of A Postmodern, Optimistic-Nihilist, Renegade, Theatre Artist

Description

On The Mathematical Analysis of An Ancient Greek Tragedy (A CURE AT TROY) Using Mathematical Set Theory To Analyze Patterns In Character And Story Structure; The Production And Direction Of That Greek Tragedy Using Vectors To Direct Action And Objectives

On The Mathematical Analysis of An Ancient Greek Tragedy (A CURE AT TROY) Using Mathematical Set Theory To Analyze Patterns In Character And Story Structure; The Production And Direction Of That Greek Tragedy Using Vectors To Direct Action And Objectives In 2-Space; And The Research, Writing, And Production Of A Reading Of A New Play (A TREE DISAPPEARS) On The Analogies Of Forestry Management Practices To Family Relationships.

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Date Created
2019-05

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Art and craft: contemporary directing pedagogy in colleges and universities in the United States

Description

The purpose of this study was to explore current pedagogical approaches of undergraduate directing curricula in selected U.S. institutions of higher learning. Building on the work of Clifford Hamar and Anne Fliotsos, the thesis builds a foundation for further study

The purpose of this study was to explore current pedagogical approaches of undergraduate directing curricula in selected U.S. institutions of higher learning. Building on the work of Clifford Hamar and Anne Fliotsos, the thesis builds a foundation for further study of contemporary directing pedagogy. Fourteen course syllabi were collected voluntarily from members of The Association for Theatre in Higher Education (ATHE) and served at the primary source material. They were interpreted and analyzed qualitatively for components that identified the methods and philosophies of the instructor and/or institution. From these syllabi, the researcher found 11 "skill categories" which cover all potential skills and bodies of information that, according to the data, a director should master. The categories are: (1) Script and Performance Analysis; (2) Directorial Techniques and Methods; (3) Production Practices; (4) Role and History of the Director; (5) Actor Training; (6) Technical Knowledge; (7) Personal Growth, Expression, and Vision; (8) Collaboration; (9) Communication; (10) Directorial Criticism; and (11) Storytelling. The categories fall on a spectrum ranging from practical based "knowledges" to skills based in individual resources and artistry, termed "abilities." Once these categories were established, the researcher examined two case study institutions: State University of New York at Buffalo (UB) and University of New Hampshire (UNH). The researcher collected public information concerning the guiding philosophies, financial profile, and curricula for both universities. From this data, combined with the 11 categories, the researcher found that the "personality" of the institution was reflected in the pedagogical approach of their respective directing courses. In the case of UB, a research-oriented institution had a production-focused directing course. UNH, with its Liberal Arts philosophy that promotes personal exploration, had a directing course that emphasized the artistic resources of the individual. Most importantly, this work creates a foundation from which future studies can be built. Broader and deeper analysis at a national level can now be approached with a framework of evaluation and analysis, leading ever closer to an understanding of the art and craft of directing.

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Date Created
2010