Analysis from musical and audiovisual perspective
Questions: tomas.hendriks@gmail.com
Assessment : Deadline June 22th
Write a short paper (1000 - 2000 words)
Choose a scene (of around 4 - 15 minutes) from a film and discuss the soundtrack, specifically paying attention to the 6 functions (time, space, character, audience, story, syntax)
■ Give short synopsis of the film and where the fragment is situated in the story
■ Make a breakdown of the audiovisual elements (in a table or any preferred structure)
■ Give equal attention to both sound and music
Session #6 : The open mode
April 8th, 2020
Watch or read the transcript of John Cleese's 1991 lecture (30 min.) on creativity.
Recap of the things we've seen so far, some discussion about the creator's perspective, analysis of short scene from Monos (2019) and a better definition of the assessment for this course that's due June 22th.
Session #5 : Narrativity
March 27th, 2020
Continuing with Decision Pending. And some thought from Vincent Meelberg about narrativity in (atonal) music and Jonathan Kramer about temporalities in contemporary music.
Session #4 : Conveying experiences in film
March 24th, 2020
Analyzing a scene from Apocalypse Now (Coppola) and A Man Escaped (Bresson). Taking a look at the creation process of my film Strangers and Decision Pending.
Please read Walter Murch's "Dense Clarity - Clear Density"
Session #3 : Functions of sound, time-thrust
March 20th, 2020
We'll finish with There Will Be Blood, discussing what the first analysis has brought up.
Some more thoughts about functions of sound, before continuing with ideas from Andrei Tarkovsky.
Session #2 : Listening, relations of sound and image
March 17th, 2020
Ideas from M. Chion's Audio-Vision, analysis of opening sequence There Will Be Blood. The Excel file is what we've found together.
Session #1 : Introduction mise-en-scène, cinematography
March 10th, 2020
Crash course terminology of the shot: a visual approach.
First thoughts on what could be musicality in film.
Staging in Minority Report (2002), Steven Spielberg
source:
The Grand Budapest Hotel (2014), Wes Anderson
Touch of Evil (1958), Orson Welles
Long take, mobile camera
Playtime (1967), Jacques Tati
Long take, fixed camera