Directors are the creative leads of the film. They hold the creative vision throughout the whole process, from pre-production through to the final edit. They are employed by the executive producer or producer, who is ultimately in charge of a production.
ext. paul thomas anderson
FADE IN:
EXT. [VICTORY MANSIONS]- OVERCAST APRIL DAY
WINDY – dirt swirling along ground. clock strikes thirteen. WINSTON nuzzles chin into big coat around his chest.
CUT TO:
INT. [VICTORY MANSIONS] – CONTINUOUS
Winston slips through glass door. camera pans round and focuses on BIG BROTHER POSTER. Winston runs up the curved stairs above the poster.
INTERCUT:
To poster
screenplay/ˈskriːnpleɪ/noun
A “script” is the written document version of a visual art form and is used across multiple mediums, while a “screenplay” refers to a script specifically for movies or television.
How is the male gaze portrayed in the films Basic Instinct (1992, Verhoeven) and Vertigo (1958, Hitchcock) and how has this changed over time?
Paul Verhoeven’s 1992 film Basic Instinct and Alfred Hitchcock’s 1958 film Vertigo both explore the subjection of women in film. Both films are recognised for their representation of the femme fatale and the theme of the male gaze while the women are massively objectified in both films. These films have been chosen because of the contrast in the perception of the role of women in different time periods and how the trope has developed showing how powerful the role of women really is. Basic instinct follows a detective, Nick Curran as he investigates the murder of a rockstar-the “villain” of the film- Catherine Tramell was sleeping with the rockstar therefore leading her to be the main suspect-also leading to curran and Tramell’s intense relationship. Vertigo follows another detective, “Scottie” who has a fear of heights, who is hired to help prevent the suicide of his friend’s wife. “scottie” ends up falling for the women and becoming dangerously obsessed with her.
| area of film focus | film 1 | film 2 | possible thesis |
| marxist theory | american history x (1998, tony kaye | la haine (1995, mathieu kassovitz ) | violence in youth in america vs france |
The institute was founded in 1919 by the film director Vladimir Gardin as the Moscow Film School and is the oldest film school in the world. From 1934 to 1991 the film school was known as the All-Union State Institute of Cinematography. Since 1986, the school has been named after the film director and actor Sergei Gerasimov (A full member of the international CILECT network of film schools). The Institute became a university in 2008.
The founding of the institute was authorized by V. I. Lenin in 1919. Its work in the early years was hampered by the shortage of film stock. It has had an illustrious history as one the oldest of the film schools in existence; many great film directors have taught at the institute including Kuleshov, Eisenstein, and Romm. During the period of the Soviet Union, it was a requirement of the state to attend VGIK to be allowed to direct a film. It was a requirement for students to first learn Russian prior to attending.
Pure geometric forms, linearity, symmetry, repetition, simple, sans-serif fonts, the dominance of red and black, photomontage. Using these elements, Constructivists would create a graphic design style that rejected all artifice and that we still associate with post-revolution Russia today.
https://www.connectionsbyfinsa.com/russian-constructivism/?lang=en
Constructivism, Russian Konstruktivizm, Russian artistic and architectural movement that was first influenced by Cubism and Futurism and is generally considered to have been initiated in 1913 with the “painting reliefs”—abstract geometric constructions—of Vladimir Tatlin.
The left bank groups approach to filmmaking shared progressive political learnings and documentarian pasts, they saw cinema like any other art such as literature and plastic arts. Left bank directors include, Varda, Resnais, Marker, Colpi and Demy.
The right bank group was the more popular and financially successful group of directors. This bank is in favour of experimentation and realism. Some directors include Godard, Truffaut, Rohmer, Chabrol and Rivette.
Astrucs contribution to auteur theory was that the director who oversees all audio and visual elements of a film is considered to be more of an “author” that the writer of the screenplay. This is his concept of camera-stylo, the fact that a film is a personal expression of a directors/auteurs.
