CG087. Time-based Media Resources.


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Applies to Movies, Opera, TV adverts, Novels, Jokes and so on. Storyspace ... Tension. Delay in satisfying a set up desire (his he going to get got ? ...
Transcripts
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CG087. Time-based Multimedia Assets Week 7. Narrating For Beginners.

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Today. Quiet times and Storyspace. Film Form. Inspiration and themes. Account structure Story and plot. Time and space. Traditional Hollywood silver screen Expectations

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Silent times and Storyspace.

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Silent times . Ship Potemkin by Sergei Eisenstein. composes the rulebook of current true to life strategies Made in 1925. A short altered grouping from the Odessa steps segment of the film. A short story in its own privilege. This connection gives another story from the same area. http://www.integratedstreaming.com/librarymedia/potemkin.htm Very capable dramatization. Compelling passionate substance. 30 Sec long 18 cuts Click on picture.

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Silent times Charlie Chaplin. Witty insightful comic drama. 10 sec 5 cuts a smaller than usual story in its own right Click on picture.

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Storyspace. A definitive amusement where individuals play with every others desires It is for the most part concurred that all stories have: Beginning (I say I say I say… My canines got no nose) Middle (Your mutts got no nose? How can he smell? ) End (horrible!) Applies to Movies, Opera, TV adverts, Novels, Jokes and so forth

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Storyspace what is it? "Lumps" of experience sorted out in a way that has a starting, center and end. Loads of things fit the depiction from telephone calls, hypotheses of universe, exchanging on a light and so on. Is this how we encounter data that has come about because of activity ?

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Storyspace Many genuine, Physical wonders like gravity and light were just not saw by individuals until intensely insightful people thought of acceptable stories about them. (storyfication) Where no reasonable story exists we make one up that fits the Information we have. Science, religion, distrustfulness, superstitions, life after death and so forth… in the event that we can\'t make up a story we get to be confounded and may endure mental injury and can\'t work. How speedy can storyspace be… … .. ?????

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"The length of the present" Miroslav Holub. Most limited conceivable account is between 50 milliseconds and around 3 seconds. Under 50 milliseconds, occasions don\'t make it into awareness, in spite of the fact that they have capable impacts subliminally.

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Trauma. Is it the inverse of story? In the event that we can\'t see occasions as stories would we be able to see them at all ? Occasions that don\'t take after the BME structure could simply be intellectual commotion, yet as well sudden occasions which appear to the gathering of people/viewer out of arrangement might be difficult to acclimatize and may even bring about injury. Street mishaps, bombings, muggings and so forth. No apparent delicate develop/no grouping.

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Film Form.

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Why Study Formalist Film Theory? To give a hypothetical establishment to comprehension the structures and elements of time-based media Unlike "Film Studies", we the comprehension not to decipher movies, but rather to break down and plan sight and sound data frameworks Video catch Video examination Video recovery Video get together Video reuse Video outline (e.g., meeting recording) User interfaces to varying media content and that utilization varying media content

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Perceiving Artistic Form The general arrangement of relations that we can see among the components in the entire film In seeing structure, the onlooker draws on Cues inside the work Prior encounters Derived from ordinary life From different craftsmanships Conventions and standards

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Principles of Film Form Function What is this component doing there? How can it sign us to react? Inspiration (support for the nearness of a component) Similarity and reiteration Motif (any critical rehashed component in a film) Parallelism (signs to look at two or more unmistakable components by highlighting some similitude) Difference and variety Development Progression moving from starting to center to end Unity/Disunity

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Viewer\'s Activity "The consistent exchange amongst comparability and distinction, redundancy and variety, drives the viewer to a dynamic creating familiarity with the film\'s formal framework."

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Narratives are profoundly energetic . They are sorted out framework atically. Each component of film structure serves a capacity in the story. Inspiration implies that all that you see and hear in a film is expected to mean ful. Certainly as onlookers, and expressly as film examiners, we perceive the deliberate association of account through the redundancy and advancement of themes .

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Motifs are essential components of account importance. A theme is any critical component of film structure. A theme is a little mallet over-burden with significance. It can be a signal, a character quality, a bit of discourse, a musical topic [Jaws theme], examples of light and dull, camera development [subjective camera in Halloween], any control of the picture [solarized picture in Predator]; to put it plainly, any sort of story or elaborate component. A theme is by definition dreary. It will reoccur and redevelop in a key and significant way.

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Motifs are fundamental components of account importance A theme can serve various story works The framework and soundness of the story film, its extreme aversion of non-useful components, and its clear natural solidarity are exhibited here as beliefs. Most Hollywood movies try to be tight, brought together, with everything important and set up. Be that as it may, few succeed totally and some don\'t succeed by any means. While trying to solidarity every single account film consolidate, intentionally or not, components of disunity. As opposed to every one of the themes fitting, in a manner of speaking, there are frequently some wrong notes. All the more essentially, a few movies deliberately and efficiently manufacture themselves on standards of disunity . The "montage" style of Soviet movies of the 1920\'s are one illustration. Instead of acclimatizing shots into the impression of a consistent space, they focused on the formal uprightness of the shot and the stun of the cut..

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Narrative Form

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Narration Plot\'s method for disseminating story data with a specific end goal to accomplish particular impacts Moment-by-minute process that aides us in building the story out of the plot Involves range (unlimited/confined) and profundity (perceptual and mental subjectivity) of learning of story data

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Range of Story Information Spectrum of learning of the story world that viewers and characters have Unrestricted (omniscient) portrayal Restricted portrayal Creates "progression of information" among viewer and characters "Who recognizes what when?"

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Depth of Story Information How "profoundly" the plot dives into a character\'s mental states Continuum amongst objectivity and Subjectivity Perceptual subjectivity (hear and see what character sees) Point-of-perspective shot Sound viewpoint Mental subjectivity (hear and see what character considers) Internal voices Internal pictures "How profoundly do I know the character\'s recognitions, sentiments, and considerations?" Range and profundity of learning are autonomous variables

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Narrative Form Narrative A chain of occasions in cause-impact relationship happening in time and space Story and Plot (chicken or egg ??) Story Set of all occasions in an account, both the ones unequivocally spoke to and those the viewer gathers Plot Everything obviously and perceptibly display in the film All the story occasions that are straightforwardly delineated

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Story (THE VIEWERS INTERPRETATION) Presumed and surmised occasions Explicitly exhibited occasions Added non-diegetic material Plot (THE VIEWERS GUIDE) Story and Plot

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Plot and Story This infers an essential qualification: STORY and PLOT . This refinement is valuable for three reasons: 1) it helps us move between a general thought of narrative and the feedback of particular movies; 2) it helps us recognize the formal designing of the film and the mental/perceptual action of the spectator; and 3) it helps us to comprehend the association of film space and film time.

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Plot and Story The plot alludes to the requesting of activities and occasions as they really show up in the film in their shut and irreversible arrangement The plot is sorted out by different examples of advancement . The story alludes to the observer\'s mental remaking of these activities and occasions into an ordered and significant example.

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Plot and Story The plot is the film as it truly unrolls before your eyes. The plot of a film is settled and perpetual, it generally starts with first scene and finishes with the last. (The principal genuine special cases to this guideline are "Hypertext" stories with really randomized plots.) However, the movement of story-production in the brain of the observer is not all that direct and altered. While watching the film, the onlooker is continually juggling occasions in his or her memory, foreseeing what comes next, making second suppositions, reassessing old data in the light of the new, remedying prior mixed up impressions; to put it plainly, building up examples of significance out of the prompts that the plot offers. Along these lines, the "story" exists no place however in the brain of the observer. It characterizes the interpretive movement, cognizant or oblivious, that the onlooker performs on the material offered by the plot. The plot once in a while portrays occasions in strict ordered arrangement. Time and causality are upset keeping in mind the end goal to start secrets and to give delight at their determination (Pulp Fiction). The story- - or "what truly happened"- - is in this way a mental develop, built up by the observer retroactively utilizing the pieces of information offered by the plot. (Numerous observers numerous varying stories)

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Time Temporal request Flash-back Flash-forward Temporal span Story term Plot length Screen length Temporal recurrence Repetition of occasions

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Teeth Brushing Exa

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