Excerpt from Documentary Filmmaking: Tips from the Trenches from First Light Video to purchase this title on DVD, go to www.firstlightvideo.com Ideal for Students of Film & Video to expose students earlier in their communications courses to documentary filmmaking. Features interviews with more than 20 filmmakers, including Richard Berge, Nick Dobb, DA Pennebaker and Michael Skolnik. This program is a chance to hear from emerging and seasoned filmmakers as they discuss technical, legal, ethical and business issues of documentary film. Thirty filmmakers discuss the art and craft of documentary filmmaking covering everything from finding a story, starting the process, shooting, editing and considering legal and ethical issues to tackling financial and distribution challenges. Hear directly from Academy Award winners and nominees, first time filmmakers and 50-year veterans as they offer tips from the trenches of filmmaking in brief, modular interview sequences perfect for the classroom. This program was created in an interactive platform, allowing professors to use it for classes on many different levels beyond communications, to study the social significance of film or how film is an agent for social change. Additionally it can be used as an educational tool for seasoned and aspiring filmmakers as a way to foster idea sharing among professionals. Subjects Covered Include: Introduction to Documentary Film (What is a Documentary, Why Documentary Matters, Why they make films, A …
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Eisenstein was a pioneer in the use of montage, a specific use of film editing. He and his contemporary, Lev Kuleshov, two of the earliest film theorists, argued that montage was the essence of the cinema. His articles and books — particularly Film Form and The Film Sense — explain the significance of montage in detail. His writings and films have continued to have a major impact on subsequent filmmakers. Eisenstein believed that editing could be used for more than just expounding a scene or moment, through a “linkage” of related images. Eisenstein felt the “collision” of shots could be used to manipulate the emotions of the audience and create film metaphors. He believed that an idea should be derived from the juxtaposition of two independent shots, bringing an element of collage into film. He developed what he called “methods of montage”: 1.Metric 2.Rhythmic 3.Tonal 4.Overtonal 5.Intellectual Eisenstein taught film making during his career at GIK where he wrote the curricula for the directors’ course, his classroom illustrations are reproduced in Vladimir Nizhniĭ’s Lessons with Eisenstein. Exercises and examples for students were based on rendering literature such as Honoré de Balzac’s Le Père Goriot.[64] Another hypothetical was the staging of the Haitian struggle for independence as depicted in Anatolii Vinogradov’s The Black Consul,[65] influenced as well by John Vandercook’s Black Majesty.[66] Lessons from this scenario delved into the character of Jean-Jacques …
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