Monday, September 29, 2014

Breakdown of a dialogue scene.

This specific scene I will be writing about is not available on YouTube, so here is the full film. The scene is located at 1 hr. 4 min. 8 sec. and ends at 1 hr. 8 min. 8 sec.


Many things contribute to why I think this is one the most magnetic scenes of the year. Not solely because of the acting, writing, directing, or cinematography, but because of the subtle editing techniques that made this scene all the more intense. The scene begins with the protagonist framed in a medium long shot, while the military officer is framed in a medium shot for nearly the entire time. The film developes a mysterious air around the main character, and the shot choice in the beginning is meant to further distance the audience from him. As he asks more and more questions about his possible future, as well as reveals his dark past, the scene transitions from a medium long to a medium close-up. Yet as all this is happening, the film simultaneously pushes in on the military officer, attempting to capture his apathetic disposition towards the protagonist. The film only goes in for a close-up on both characters when he asks a thought-provoking, somewhat existential question that showcases the deep emotional turmoil he's had building throughout the entire runtime. This makes for an intensely arresting change of tone and is the climax of what is, in my opinion, one of the best dialogue scenes of the year. 

Friday, September 12, 2014

Covering a Dialogue Scene



 
 
 
I was watching this clip and I saw a lot of the things we were talking about in class today. There is a variation of master shots, medium shots, and close ups. I believe there might be one or two over the shoulder starts as well. I also like how they quickly panned to the right from Katherine (the one in black) and changed the whole time of age. I personally enjoyed the way this entire dialogue scene was editing because this is one actress playing both parts and the way she kept the continuity together was quite amazing to watch. They also kept to the 180 degree rule very well.

Tuesday, September 9, 2014

COM 103 READINGS

WEEK 4 (9/18) - "The Parade's Gone By," by Kevin Brownlow (chapter on silent film editing)
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4c0Q1NV9tRFpSWWc

WEEK 5 (9/26) - "The Technique of Film and Video Editing," by Ken Dancyger

          Chapter 1 (silent film)
          https://docs.google.com/uc?    export=download&id=0B3PfaHNULqy4RUQ3TW5fU2NSV3M

WEEK 6 (10/2)

          Lev Kuleshov
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4WjhJdENyY2FJRGc

          V.I. Pudovkin
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4d3BHejZNbnZ4b2c

          Sergei Eisenstein (recommended)
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4QXRHU1EtYm1ic00

          Dziga Vertov
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4ejU1OFJYSHY5SEE

WEEK 10

          Chapter 6 (Hitchcock)
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4VVlRQlluNEpnT3c

          Chapter 21 (Action)
          https://docs.google.com/uc?export=download&id=0B3PfaHNULqy4bUFtTGd0ZzlfRDA

Sunday, September 7, 2014

Battleship Potemkin Full Movie

If you have Prof. Camilo Rojas for your Com 103 lab then you've probably been instructed to watch this movie. I've checked and its not on Netflix or Hulu so I found the full thing on YouTube.



Even if you don't have Prof. Rojas, I recommend checking out the film. I haven't watched it myself yet but according to the professor it is a "silent masterpiece" with no shot going longer than six seconds without a cut. That's some serious editing.