1 THE WORLDCINEMATIC Entertainment Studio | Research Seminar Winter 2022 | UCLA AUD IDEAS Natasha Sandmeier Fame Factory by Nour Hassoun, Xinyue Ji, Rashika Jain Entertainment Studio 2022
Each week we will split into two large groups to analyze two different films which will inform the next week's presentation and discussion. Students will dive deep into each film to uncover the particular (and often peculiar) tricks used by various creators throughout its making. As you alternate between analysis and scene reconstructions (see schedule on following pages) the relationship between viewership and authorship will inform the ways you think about and make visual narratives. From the use of the vertical line in the film Parasite, to the use of reflections in Playtime, we will learn together what makes all these films so important within contemporary culture.
Brief & Course Objectives
In this course, we will objectively analyze the techniques employed by filmmakers and visual storytellers that so deftly slide us into an mesmerizing experience. We often attribute filmmaking to directorial skill, but cinematography, production design, sound design, and costume design are the forms of broad stroke facets of film-making that all contribute to the experience that defines a film/ media. We will go further and delve deep into the techniques of film cutting, analysing camera movements, the choice of lens, and lighting to more fully grasp the finer, but no less crucial aspects of building visual narratives. All of these factors are what contribute to and determine the look, feel and logic of a film. Being able to recognize the techniques and understand when, how and why they are used, will ultimately add a valuable set of skills to your filmmaking toolset.
RESEARCH SEMINAR
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This quarter the research seminar will operate as a research and testing ground as we analyse a series of films, tv shows and commercials to learn from watching and dissecting them. As audience members, we watch films and shows, willingly losing ourselves within the power of story, the beauty of cinematography, and the immersiveness of worldbuilding.
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Still from Arrival, 2016
Directed by Denis Villeneuve Production Design by Patrice Vermette
Nomadland The PlaytimeChildrenBatmanofMen
DELIVERABLES: TREATMENT
GAMES Death JourneyStranding
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The Royal Tenenbaums
TV SHOWS
Handmaid'sSeverence Tale TalesDark from the Loop BlackWestworldMirror (select episodes) Love Death Robots (select episodes) Station Eleven Squid Game
Page format is 16:9 Printed and digital submission. Reconstruction film clip in same format/ratio as original media
FILMS HerInterstellar Arrival 1917 RearGravityBarakaWindow
Your role in this seminar is essentially to embody the Director, Production Designer, Cinematographer, Costume Designer, Sound Designer, Editor, Lighting Designer (and more) after the fact. To that end, you will be studying the work, techniques of each of these people and roles in various films throughout the quarter, and presenting from that person's perspective. The list below is a starting point and may be added to throughout the quarter.
DIRECTOR'S CUT
BladerunnerNOPETheParasiteMatrix (2019 or 2049)
The treatment is a valuable portfolio element to showcase your work to media, film and vfx studios. We will be using this format throughout the quarter for weekly presentations and final Minimumsubmissions.30pages per Film/Show analysis
Everythign Everywhere All At Once The Favourite
Breath of the Wild Red Dead Redemption 2 The Last of Us
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Still from Parasite, 2019 Directed by Bong Joon-ho Production Design by Lee Ha-Jun
This analysis is NOT a plot summary. Your analysis should cover the overarching strategies of director, PD, DP, Editor, etc etc with respect to overal planning, world design, etc, as well as thorough analysis of the film itself including but not limited to logline, synopsis, opening and closing shots, act structure, plot diagram / moments of suspense, composition, camera shots, lenses, cuts (amount/types) and editing, color themes / color correction, lighting, sound analysis, costume design and props.
1 INTRODUCTION 09.28
Week 7-9 CASE STUDIES
Week 2 - 4 CASE STUDIES
Week
• Documentation of Film clip, Slideshow & PDF Treatment uploaded to Miro before start of seminar. Incorporate the planning and making-of process.
• Documentation as Film clip, Slideshow & PDF Treatment uploaded to Miro before start of seminar. Incorporate the planning and making-of process.
10.05, 12, 19, 26
• Documentation as Slideshow & PDF Treatment uploaded to Miro before start of seminar
SCHEDULE
• Documentation as Slideshow & PDF Treatment uploaded to Miro before start of seminar
Week 5 - 6 RECONSTRUCTION 11.02 MIDTERM WEEK
This analysis is not a plot summary. Your analysis should cover the overarching strategies of director, PD, DP, Editor, etc etc with respect to overal planning, world design, etc, as well as thorough analysis of the film itself including but not limited to logline, synopsis, opening and closing shots, act structure, plot diagram / moments of suspense, composition, camera shots, lenses, cuts (amount/types) and editing, color themes / color correction, lighting, sound analysis, costume design and props.
Week 10 RECONSTRUCTION 11.30
Each week the group will be divided into two large teams, each analysing a selected movie or TV episode. While these are large teams, you are expected to self-organize and determine who takes on which role, your internal collaborations, and focus of analysis, and how you shape the presentation at the next seminar. You can organize the a team as a group, or select a 'director' to assign roles.
11.09, 16, 23
You will divid into 3-4 person teams to reconstruct a crucial scene or moment of one of the films you have analysed to date. Between 10-30 seconds, this clip should capture essential qualities of the film that resonated with you. This reconstruction needs to perfectly match lighting, color, camera, tracking, composition, and framing. Allowances will be made for the set, costume, and characters.
Each week the group will be divided into two large teams, each analysing a selected movie or TV episode. While these are large teams, you are expected to self-organize and determine who takes on which role, your internal collaborations, and focus of analysis, and how you shape the presentation at the next seminar. You can organize the a team as a group, or select a 'director' to assign roles.
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You will divid into 3-4 person teams to reconstruct a crucial sceneor moment of one of the films you have analysed to date. Between 10-30 seconds, this clip should capture essential qualities of the film that resonated with you. This reconstruction needs to perfectly match lighting, color, camera, tracking, composition, and framing. Allowances will be made for the set, costume, and characters.
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Directed by by Jacques Tati Production Design by Eugene Roman
Still from Playtime
Back Story: How a Squat Became a Filmset, Design Manchester, 2016
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Murch, Walter, In the Blink of an Eye, Silman-James Press, 1995, 2001 Pallasmaa, Juhani, The Architecture of Image, Rakennustieto, 2001 Berkowitz, Joe, How Margaret Atwood Creates Scary-Plausible Future Worlds, Fast Company, 2013
MacDowell, Alex, Disruptive Narratives: Building Tomorrow’s World Today, Design Indaba 2016 Watch all or from time marker 5:45MacDowell,https://www.youtube.com/watch?v=Sj_LZFhKU8c23:05Andy,
*Readings & references are subject to change.
BIBLIOGRAPHY
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ACCESSIBILITY
ATTENDANCE
This program uses video recording or other personal information capture for the purpose of facilitating the course and/or test environment. Pursuant to the terms of the agreement with UCLA, the data is used solely for this purpose and any vendor is prohibited from disclosing this information. UCLA also does not use the data for any other purpose. Students may not distrib ute recordings or other instructional materials provided as part of remote learning by faculty, teaching assistants, or invited guests.”
COURSE REQUIREMENTS
UCLA CAE (Center for Accessible Education) RECOMMENDATION:
PRIVACY
PLEASE REFER TO AUD FILE NAMING GUIDE FOR ARCHIVING, WHICH IS DISTRIBUTED AT THE END OF EACH QUARTER.
If you are already registered with the Center for Accessible Education (CAE), please request your Letter of Accommodation on the Student Portal. If you are seeking registration with the CAE, please submit your request for accommodations via the CAE website. Please note that the CAE does not send accommodations letters to instructors--you must request that I view the letter in the online Faculty Portal. Once you have requested your accommodations via the Stu dent Portal, please notify me immediately so I can view your letter. Students with disabilities requiring academic accommodations should submit their request for accommodations as soon as possible, as it may take up to two weeks to review the request. For more information, please visit the CAE website (www.cae.ucla.edu), visit the CAE at A255 Murphy Hall, or contact us by phone at (310) 825-1501.
University and/or Department attendance policies will be rigorously enforced. Each unexcused absence will result in the reduction of one letter grade. More than two unexcused absences will result in a failing grade.
Students are required to complete all assignments. Students are required to submit all final project materials (images, model photographs, assets, sound files, animations and videos, etc) digitally by the end of the course. Film / video formats will be outlined by the teaching team. File naming conventions:
SUBMISSION REQUIREMENTS