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Szukaj
July 12, 2012

FILM ASSIGNMENTS

“ The architecture of cinema utilizes the entire range of emotions, and the touching architecture of Tarkovski’s films, for instance, could encourage architects to expand the emotional contents of their spaces, designed to be actually dwelled and lived in. “
J. Pallasmaa

1. THE POETICS OF SPACE

Poetry is the soul of the eye.

There is only one way of thinking in cinema: poetically.
Poetry is awareness of the world, a particular way of relating to reality. A.Tarkovsky

Assignment:

Use the poems created by the workers of Suvilahti or create your own poem about Wastelands area. WORDS ARE THE KEY to this assignment. Try to construct poetics images base on the text. You can integrate the words in to your footage.

Example: Home as a mystical dream



IMAGE - POETRY

Tarkovsky’s films are about search of home, the lost home of childhood. The tensions of “ house” and “home” is a central motif in his movies as well as poems of his father. In the communist state home was under control –“concentration camp”. That is way home turned into mystical dream in his and his father artistic work.



Pj Harvey’s music clips about England with relation to the war . Example of integrating words and still footage.





2. THE SOUND OF SPACE

Sound gives rhyhhm and tempo to the movie.

WALK from Kasia B. on Vimeo.

THE ARCHITECTURE OF SOUND

Every touching experience of architecture is multi - sensory: quality of space are measured equally by eyes, ears, nose, tongue, skin, muscles. Every place or space has its characteristic sound of intimacy or monumentality, rejection or invitation, hospitality or hostility. J.Pallasmaa

Interiors are like large instruments, collecting sound, amplifying it, transmitting it elsewhere.Peter Zumthor

A CHAIR FIT FOR AN ANGEL
example of buildings as instruments

Assignment:

Find a space, exterior or interior on Wastelands area or somehow related to Wastelands. Document it, make a story about it or create a story in it, using image and sound. SOUND IS THE KEY to this assigment.

IMAGE - SOUND

designing the action in such a way that it is as interesting to the ear as to the eye; sound, in particular, should be an integral part of the action rather than simply an auditory backdrop for the action; characters can produce sounds and react to sounds; sounds can trigger events or can in themselves constitute events.


MATKA, Pirjo Hokkanen, 1983

EATING OUT, Pål Sletauone, 1993



3. THE MEANING OF OBJECTS AND SPACES

We have a capacity to identify with objects and spaces. This capacity is a key to our imagination. We become a space that we enter and space becomes a part of us.
Architectural imagery and the articulation of space create the basic dramatic and choreographic rhythm of any film. The film makers very often identify the strongest relations of architecture, such us: the image of the house and landscape; the mask is like appearance of the facade; the doors and the windows and mediators between two worlds and framing elements; the intimacy and domesticity projected by fire place; the focusing and ritualizing role of the table; the privacy and secrecy of a bed, the sensuality of a bath, etc.
The stairs is the symbolic spine of the house. The stairs resembles also the imagery of labyrinth to confuse a man.
Pallasmaa


( view from 0:56 min ! )



STAIRS
One of the most potent images of architecture is the stair, which possesses a wealth of metaphoric and symbolic connotations. The stair is the symbolic spine of the house, whereas ascending a stair in dream-imagery signifies copulation. The qualitative differences of ascending and descending derive from the images of Heaven and Hell. Stairs appear frequently in literature, cinema and painting due to their extraordinary image power. The staircase is simultaneously a stage and an auditorium. It is also a vertical configuration of the labyrinth with consequent associations of vertigo, and getting lost. Pallasmaa

Assignment:

Find an object or a part of the structure or architectural element and use it as a metaphor for your story. Try to interact with it or invite others to interact with it. You can use “intervention methods” to support your storytelling.
SHOWING EMOTIONAL RELATIONS IS A KEY to this assignment.


CHARACTER – OBJECT

Having characters interact with meaningful objects and with their physical setting, both of which are given important storytelling functions; embedding the inner lives of characters in the physical world; subjectivity and interiority balanced by external, material things.

FEM TRAPPOR Hanna Andersson, 2004




La Double Vie de Veronique , Krzysztof Kieślowski, 1991 view 7:49 min ; 1:1:16 min

Często w Podwójnym życiu Weroniki pojawia się zniekształcony obraz, zaokrąglony w taki sposób, jakbyśmy patrzyli na świat przez szklankę lub z wnętrza kulki. Ma to podwójną symbolikę. Według Kieślowskiego tak właśnie widzimy otaczającą nas rzeczywistość, prawdziwy obraz świata – zniekształcony, a więc nie ten prawdziwy.

Blog - Ostatnio dodane

  1. WORKSHOP FILMS (August 18, 2014) >>
  2. FILM ASSIGNMENTS (July 12, 2012) >>
  3. MOTION DESIGN (July 11, 2012) >>
  4. Cinema and Poetic Imagery (July 10, 2012) >>
  5. Inspirations (July 10, 2012) >>
  6. INTERVENTIONS IN CITY SPACE (July 10, 2012) >>
  7. History (July 10, 2012) >>
  8. Wastelands EASA Helsinki (July 10, 2012) >>
  9. MONTAGE (July 9, 2012) >>