Universitat Internacional de Catalunya
Film Direction
Teaching staff
Para cuaquier duda o cuestión: lftrullols@uic.es
Introduction
Pre-course requirements
No prerequisites.
Objectives
Main objective of this course is to provide students with the knowledge and mastery of every tool cinema director. The study, through filmed by great directors of world cinema examples of the way intender the use of any artistic element contained in his office, bring the student to a correct way to work intender director.
In parallel, the practical work of realization, preceded by lectures, help the students to acquire a correct and functional mechanical equipment in the development of any audiovisual work of fiction.
Competences/Learning outcomes of the degree programme
- 01 - The ability to adapt to varying circumstances
- 02 - The ability to understand, accept criticism and correct errors
- 03 - The ability to administer and manage human and technical resources
- 04 - The ability to work in a team and autonomously
- 05 - The ability to organise time and workspace
- 06 - The ability to develop academic rigour, responsibility, ethics and professionalism
- 07 - The ability to apply the deontology and respect for the audiovisual sector
- 08 - The ability of critical analysis, synthesis, concretion and abstraction
- 10 - The ability to confront difficulties and resolve problems
- 11 - The ability to generate debate and reflection
- 12 - The ability to meet deadlines, develop the ability to be punctual and respect for human, technical and material resources
- 13 - The ability to create spoken and written communication
- 14 - Knowledge and mastery of rhetoric and oratory to communicate own ideas
- 16 - The ability to manage, analysis and reflect on content
- 24 - The ability to plan and organize both short term and long term projects
- 25 - The ability to maximize creative development
- 26 - The ability to develop a sense of taste and perfection in the aesthetics and finalization of projects
- 27 - The ability to adapt to distinct audio visual publics and markets.
- 32 - The ability to confront audiovisual and film projects in all phases (pre-production, shooting, post-production, distribution)
- 33 - The ability to create and direct.
- 34 - The ability to know and respect the different roles of the artistic and technical teams
- 35 - The ability to contextualize and critically analyze the products of the audiovisual industry
- 36 - The ability to create, direct and manage audiovisual companies
- 40 - The ability to defend and respect authorship and intellectual property
- 41 - The ability to know how the distinct elemental agencies of the audio visual sector function
- 42 - The ability to distinguish, analyze and dominate the distinct genres and formats of television, film and radio
- 43 - the ability to create scripts for film, television and radio according to the demands of the genre
- 44 - The ability to adapt to new audiovisual formats
- 45 - The ability to know and dominate the techniques of audiovisual narrative.
- 46 - The ability to dominate resources used for image (Photographs, lighting...) and sound.
- 48 - Knowledge and mastery of the techniques of filming, directing, producing and editing
- 49 - The ability to write fluent texts, step outlines or scripts
- 50 - The ability to adapt, understand and apply the expressive possibilities of new technologies and future changes
- 51 - Knowledge and mastery of the functioning of Corporate and Institutional Communication.
- 52 - The ability to apply audiovisual knowledge and techniques for commercial purposes in any form
- 53 - Lingustic ability in Catalan, Spanish and English
- 54 - The ability to skillfully manage the literature, terminology and linguistic structures of the English language related to the field of communication.
Learning outcomes of the subject
The / students:
1. Navigate through the techniques of language and audiovisual narrative. They know dialogue and coordinate all departments involved in the production and / or shooting a film with the aim of integrating their diverse perspectives.
2. Be able to organize and coordinate all the logistics required for any film production.
3. Be able to guarantee the final quality of the image / texture and composition) and also to plan and organize the logistics that occurs in all elements to be filmed.
4. know take care of all the elements that serve to convey to the viewer an environment, a climate or atmosphere.
5. Be able to develop simple editing and mounting sense of rhythm and narrative coherence.
6. Compose coherent and consistent stories being flexible enough to adapt elements to the original text to the amendments to the initial expectations of the ultimate goals that all audiovisual project ends up suffering.
7. You will know the different classic cinematic forms, not only to cultivate them but to be able to innovate with hybridization and mixing of formats and / or genres to suit the new sensibilities and social trends.
Syllabus
BEING A DIRECTOR
Movie crew
What does a movie director do?
Starting point:
What first questions do you ask yourself as a director?
The script: the origin Narrative structures Genres and Movements: iconography Modern paradigm: postmodernismCONCEIVING A MOVIE
A team effort:
Functions, filming preparation
The staging: Production design Direction of photography Soundtrack and sound
VISUAL COMPOSITION: DEPTH OF FIELD AND POINT OF VIEW
Visual design principles: light, color, tones, atmospheres
Field
Visual organizing forces The power of the margin: the frame (balance, three-thirds, out of frame, empty field)The lenses
Lenses perspective: wide angle, space compression
Focus
FROM SCRIPT ANALYSIS TO THE FRAME
Typology of shots
Scales according to the size of the subject Scales according to the camera perspective
Angles
Camera and actors movement
FORMATS
Technical script
Coverage
Sequences shot by shot
Frontal Position
Master Shot
Shot/Reverse
Sights, visual contact
Breakdowns, Shooting Plan
Point of view
Involvement and identification with the viewer
Axe
Crossing the line
Visualization
References
Storyboard
Animatics
Staging
Letter schemes Between 2 subjects Between 3 subjects
Shot designing
Editing
Emotional Route
Progression, Continuity, Rhythm
Versions, structure changes, tones
Final rewrite
Actors
Casting, Building a character, Rehearsals
Improvisations, Background, Active Ideas, Goals
Expressive values of the shotTeaching and learning activities
Online
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ACTIVIDAD FORMATIVA |
CRÉDITOS ECTS |
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Coaching. Seguimiento, individual o en grupos muy reducidos, de cómo los alumnos asimilan los contenidos de la asignatura. En las sesiones de coaching, se corregirán defectos, se aclararán dudas, se propondrán ejercicios y actividades necesarias para conseguir los objetivos fijados. |
0.8 |
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Focused Praxis. Entrega periódica de ejercicios para aprender la teoría a través de la práctica. Cada ejercicio irá destinado a adquirir conocimientos muy definidos y adaptados a las circunstancias. |
0.4 |
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Taller. Espacio de trabajo eminentemente práctico, en el que se adquieren competencias pertenecientes a materias prácticas o también teóricas (capacidades intelectuales, lógicas, críticas, de aprendizaje intelectual, estudio, citación, etc.). |
1.4 |
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Clases Magistrales. En las clases magistrales, el profesor, no sólo transmite contenidos o conocimientos, sino también, y sobre todo, actitudes, motivación, aptitudes, valores, etc. También facilita que los asistentes puedan manifestar sus opiniones y sus argumentos frente al resto de estudiantes. |
1.4 |
| TRAINING ACTIVITY | ECTS CREDITS |
|---|---|
| Coaching. Monitoring how students learn the content of the subject, either individually or in groups. In the coaching sessions, mistakes will be corrected, queries answered, and exercises and activities to achieve the established objectives will be suggested. | 0.8 |
| Focused Praxis. Handing in occasional exercises to learn theory through practice. | 0.4 |
| Practical workshop. A highly practical working activity, where students can acquire skills that are practical or also theoretical (intellectual skills, logical skills, critical skills, intellectual learning skills, study skills, quoting skills, etc). | 1.4 |
| Lectures. In lectures, lecturers/professors not only transmit content or knowledge, but also, and above all else, attitudes, motivation, skills and values, etc. They also ensure that participants can express their opinions and arguments to the other students. | 1.4 |
Evaluation systems and criteria
Online
La evaluación es continua mediante el seguimiento del trabajo en el aula y la exposición de ejercicios individuales y colectivos.
La actitud participativa en clase es indispensable para superar la asignatura.
La asistencia a clase es obligatoria al igual que la entrega de todos los ejercicios planteados durante el curso en las fechas señaladas, que serán anunciadas con antelación en clase.
La calificación final será el balance entre las notas de los ejercicios individuales, los colectivos y la actitud y puntualidad del alumno. A la hora de valorar los ejercicios se tendrá especialmente en cuenta la creatividad, el contenido y la apuesta formal.
Dosier de proyecto: 40% Trabajo de análisis y ejercicios prácticos colectivos e individuales: 40% Actitud, asistencia y puntualidad: 20%Los alumnos que no hayan cursado la asignatura y se presenten a segunda convocatoria, deberán realizar un trabajo acordado con el profesor..
Los alumnos que suspendan primera convocatoria tendrán que presentar un trabajo acordado con el profesor en función de la evaluación continua realizada.
Bibliography and resources
BROOK, Peter. El espacio vacío. Ed. Península
CROWE, Cameron: Conversaciones con Billy Wilder. Alianza Ed.
KATZ, Steven D.: Plano a plano de la idea a la pantalla, Ediciones Plot, Madrid.
LOWENSTEIN, Stephen: Mi primera película: Toma 1. Alba Ed.
LUMET, Sidney: Así se hacen las películas, Ediciones Rialp, Madrid.
MAMET, David: Verdadero o Falso
MURCH, Walter: El momento del parpadeo, Ediciones Rialp, Madrid.
TRUFFAUT, François: El cine según Hitchcock, Alianza Editorial, Madrid.