Please note! Course description is confirmed for two academic years, which means that in general, e.g. Learning outcomes, assessment methods and key content stays unchanged. However, via course syllabus, it is possible to specify or change the course execution in each realization of the course, such as how the contact sessions are organized, assessment methods weighted or materials used.
LEARNING OUTCOMES
Understanding different methods of cinematography (master technique, coverage, moving master, single take, pov, lighting moods, etc.) and their effect on the storytelling and audience’s perception and impact to the viewer.
Credits: 3
Schedule: 07.12.2020 - 08.12.2020
Teacher in charge (valid 01.08.2020-31.07.2022): Jonathan Harvey, Rauno Ronkainen
Teacher in charge (applies in this implementation): Jonathan Harvey, Rauno Ronkainen
Contact information for the course (valid 28.11.2020-21.12.2112):
Rauno Ronkainen F.S.C.
Professor in Cinematography
Aalto University
Helsinki Film School
rauno.ronkainen@aalto.fi
+358 50 4106151
CEFR level (applies in this implementation):
Language of instruction and studies (valid 01.08.2020-31.07.2022):
Teaching language: English
Languages of study attainment: English
CONTENT, ASSESSMENT AND WORKLOAD
Content
Valid 01.08.2020-31.07.2022:
Tasks and questions will be delivered via e-mail and they are based on the book: Film Directing Cinematic Motion 2ndedition. Student’s own work is also based on the material that lecturers will deliver at the beginning of the course, during lectures.
Study weeks are meant for reading the book, searching for examples from different films and answering and analyzing the questions. Student’s answers will be talked over in common feedback days and example scenes will be watched together with other students and the teacher(s).
Applies in this implementation:
Due to the fact that we will have this unique opportunity - Francis ford Coppola as our guest - we will focus on his production and use film RUMBLE FISH as our basic source material for this course.
You are allowed to pick up your copy of this film DVD from the desk of Filmihullu Leffakauppa as soon as I get confirmation that required copies have arrived. After the course you must return the dvd / blu-ray back to the lecturer / professor.
Student's tasks are connected to the film Rumble Fish.
You should make the breakdown of the acts, sequences and scenes. In this, your own opinion is the most important thing. How do you think that the film's structure has been made and how it effects to the audience (you)?
DRAMATURGY:
Draw the time line of the film.
Mark films acts and structure of dramaturgy on that.
- Introduction / hit
- first act
- first "point of no return", turning point of the story
- second act
- film's middle point (not necessary at the mathematic middle)
- third act
- second "point of no return", turning point of the story
- films ending = fading
Note; this structure might differ from the one that is written above. Feel free to impress your own opinions.
Then try to ask following questions:
CHARACTERS (https://www.masterclass.com/articles/guide-to-all-the-types-of-characters-in-literature#7-character-roles-in-stories)
- who is the main character -protagonist - of the film?
- who or what is the antagonist?
- who or what is the love interest?
- who or what is the confidant?
- how does the main character change?
THEN GET TO THE VISUALS:
Break down the visual elements that are typical in this film (cinematography, production design). Concentrate the most obvious ones if needed. Try to analyse the meaning of those elements - so, how these elements support or create content?! How these elements are motivated? Use screenshots as an example if possible.
- camera movements
- camera angles
- lens type (wide, normal, tele)
- usage of depth and depth of field
- lighting
- set design & spaces during the film
- establishing. How does the audience experience the spaces? How are the scenes been introduced?
- how scenes are covered? You can choose one to two example scenes
- reverse shots (is there some specific way how they are executed in this film?)
- how the tension is created by staging, with composition or movement, by editing, by sound? You can focus on one to two examples. Try also analyse the purpose and effect of the chosen way.
- visual climax. Is there any and if yes, how do they separate from the film's normal visual storytelling?
- visual "calm before the storm" moments. Is there any and if yes, how do they separate from the film's normal visual storytelling?
- can you to distinguish any "planting" of visual elements that are later released to the audience with stronger effect?
- major changes in visual storytelling during the film. Is there any? Try to analyse the effect of these changes.
- usage of the POV (point of view). Give one to two examples. How it's done and what is the effect?
- can you give any examples of subjective and objective visualisation in this film?
TIME
- is there any specific way how the time is exposed, manipulated or otherwise handled in this film? Give one to three examples and analyse the effect of those.
DRAMATURGY & VISUAL DRAMATURGY
- Add your vision of the visual dramaturgy on top of the time line that you have already drawn about the plot dramaturgy of the film.
- Compare these two. Analyse briefly how these are related to each others.
END.
Assessment Methods and Criteria
Valid 01.08.2020-31.07.2022:
Pass – fail
Independent work according the given questions, own analysis and writing and also mutual feedback.
Workload
Valid 01.08.2020-31.07.2022:
3 cr.
Student’s independent work 60 h, lectures and feedback sessions 22 h.
DETAILS
Study Material
Valid 01.08.2020-31.07.2022:
Film Directing Cinematic Motion 2nd edition
Applies in this implementation:
NOTE
9.12
Coppola meets a very restricted audience and the discussion is streamed online. Hosted by Satu Kyösola and students.
Our first idea was to organize a 90 min conversation with Coppola divided in three 30 min slots:
Screenwriting / Film Direction / Documentary Filmmaking
Film and TV Production / Film and TV Production Design / Costume Design
Cinematography / Sound Design / Editing
Prerequisites
Valid 01.08.2020-31.07.2022:
Cinematic expression 1 - 4
SDG: Sustainable Development Goals
4 Quality Education
10 Reduced Inequality
17 Partnerships for the Goals
- Teacher: Harvey Jonathan
- Teacher: Ronkainen Rauno