You just write a presentation draft and give me some image evidence to represent. Cause this is a 5-10 min presentation. The movie is \”Omar.\” by Hany Abu-Assad. If you can make a simple ppt, I would appreciate.
If you have any questions just ask quickly. Thank you.
Due date ongoing weeks 4 13. Each student selects 1 week in which to offer a presentation. Selections to be made in consultation with tutor.
The purpose of the in-class presentations is to provide an opportunity to use the specifics of formal, stylistic analysis to begin to understand the movement of a film. Movement is defined as the transformation of the whole (see lecture recording March 21 for a discussion of cinematic movement). The key term here is transformation. Transformation should always be considered in relation to such things as progression, and continuity. The film may last about 90 minutes and constitute a continuous experience but this continuity is at all points in a state of changeas if change is the only continuity.
In-class presentations should take a moment, instant, scene or sequence of a film and break it down into its principle formal elements. The formal elements should then be considered so that some aspect of the movement of the film is elucidated.
The formal elements that are emphasized in the unit are as follows.
Frame: a finite visible space with definite tangible dimensions, height, width, depth, depth, angle, colour, shadow, point of view, etc. The finitude of the frame means we must think also about what is outside, or beyond the frame. In-frame and out-frame can enter into many different relations.
Shot: the temporalization of a frame space. The space may extend in time, and the dimensions of the frame may also change or remain the same. The shot may move, or not. The objects within the frame may move, or not. The shot and the objects may move in the same of different directions, or not.
Montage: the creation of movement from shot to shot or within a shot.
Any given frame or shot is necessarily involved or incorporated in all three levels at once. Movement is the incorporation of the three levels. Different films will incorporate formal elements in different ways and to different ends. The presentations ask you to think about how the incorporation of formal elements.
Below is an example of an in-class presentation. The film is 71 Fragments of a Chronology of Chance.
The image discussed is a single frame from a scene in 71Fragments.
Please note that if you use a single frame it is very difficult to discuss the relation of image and sound. It is also impossible to hold a sound the way a still image is held. If you analyze sound, or sound-image you will need to show the entire clip or play the sound.
There are 2 lines of attack taken 1. Form/ Style, 2. Content. The formal analysis underpins and interpretation of the frame and the scene. The frame is presented as an example of a single shot/scene. The shot/scene is an example of a scene that is comprised of a single shot that runs for 3 minutes. The length of this shot is itself worthy of some discussion.
1. FORM/ STYLE.
The frame is contrastive in that it is dominated by diagonals. The diagonal of the netting. The diagonals of the dual trajectory of the balls., from bottom left, to the centre of the frame and then towards bottom right: implied in the still frame but clearly visible in the shot). A further more horizontal but nonetheless diagonal line is constituted by the edge of the table tennis table.
These diagonals enframe the vertical body which is set against a rear wall that is composed of squares.
The colours are rather cool and uniform, greys predominate, and provide some relief of the face. Which is half in shadow, indicating that scene is light from the spectators right, and from the left of the actor. The light seems to run along the same line as the centre line of the table tennis table, and which juts out of the ball machine.
Shadow though is not emphasized.
The scene is composed of a single shot.
The shot last for over 3 minutes (it is a real duration: i.e., the action lasts 3 minutes and the scene takes 3 minutes)
The camera is fixed, it does not move.
The shot is wide-medium (this emphasizes the actors torso and therefore the action of the body (but not the face).
The angle is flat and horizontal but with a diagonal that places the body in the centre of the frame but which creates some sense of depth.
The Shot cuts into an action and cuts out of action while it still continues
The shot goes on longer than necessary. The shot asks us to consider what is happeningso it does not simply show us.
Movement is in the shot: movement of balls and movement of the player.
The enframed body makes a single gesture over and over again. The gesture is different every time.
The movement of the balls is not automatic but they follow the same line each time.
The camera would seem to placed in a position analogous to another player, or a coach.
What is the shot about, what does it show us? We need to answer these questions based on the formal stylistic elements.
The shot can be said to present a relation of a human body and a machine. The machine may be the ball machine but it may be the entire mise en scene.
The spatial relation is constant, indeed the spatial order of the scene remains absolutely constant (fixed frame single shot).
The relation though changes over time. The body seems to atrophy, to tire and the action decomposes while the machine does not. It has moments when the balls do not come out, but it does not exist as it were in the same way as the body.
The machine seems indifferent to the body but the body is affected by the machine.
The machine is an instrument of discipline. The body is pushed past a certain palpable limit. The student tires, begins to suffer.
The repetitive gesture registers a kind of enslavement, or cruelty. Could this scene then be metaphoric in that it places humanity within the machine (of modern life), but also humanity within the cosmos? The immutability of the machine and the vulnerability of the body suggests Benedict Andersons discussion of the big picture perspective of religious and nationalist imaginings. SEE p10 the great merit of traditional religious world-viewshas been their concern with man-in the cosmos, man as species being, (sic) and the contingency of life (10). Nationalism has to be understood by aligning it, not with self-consciously held political ideologies, but with the large cultural systems that preceded it, out of which as well as against which-it came into being (12)
This final citation from Anderson relates the clip and analysis to some of the central concepts of the first part of the unit.
The presentation should from 5 10 minutes.
You may use clips, stills, or any other visual (audio) aid that the room can handle.
The presentation is worth 10% of your grade.
You will be graded on how you bring form and content together. 50/50.
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