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IN THE NUMBER 11 OF SHANGRI-LA ... FRAMING MATERIALS

THE LANGUAGE OF MEMORY

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A certain idea of \u200b\u200bcinema is the first part of a book (testing and manual) on the language of cinema " as we can remember in the past and imagine the future, dedicated to exploring the basic structure of film language from three attacks: the discussion of the dominant and hegemonic ideas that have surrounded the knowing-doing movies for a century , the development of a concept image (and their types) that is useful and effective in practice and film analysis, and finally, the description of a double and inextricable settings-iconic plastic-film image as a result of the work on the field sampling and understood as basic units of film creation and reception.

Thus, in the first part contained herein, are subject to trial, one after another, great ideas everyday world and cinefagia cinephilia: the "visual story" as an exclusive territory of the cinema (and the consequent reduction to support literary, novelistic narrative genre or format), the "art" and the "industry" as required double horizon (despite the evidence that all communication is a trade practice and trade), the "film-making process" as a single procedure (in which the aesthetic is surrender to the economic, and image / sound to the script and story), the "transparency film" as the ultimate goal (for opacity Narrative stories as "life itself" and against the density itself demonstrative show of images and sounds), the "assembly" as specificity of cinema (against the action / cut as an act of original film), and Finally, the crutch of "moving image" as a cinematic medium specificity (against the essential character that "living pictures" have, at least during its first hundred years in the history of cinema).

SOME IDEA OF FILM
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specific characteristics that identify qualified materials for any educational material makes this text meets preset conditions which should, especially since consider the use of it can be done and unlimited calling extension through the Web

The first question to consider is the search for originality in the material. In this sense, we should comment on the flimsy notion of the concept of authorship, since, although the text is entered in own ideas and approaches, the amount of information coming from other authors, experiences, nuances obtained through very various readings and sources, is so large you have to put in perspective the role of the "signature."

Secondly, it should be pointed the timing of the chosen title and subtitle: The audiovisual and script writer's work: theory, technique and creativity . A statement reveals so well to clear the objectives to be achieved: it is the reader to understand what are the mechanisms that underlie the construction of scenarios, take a number of techniques to generate their own texts and done on a new, creative, and, if possible, not doomed in advance by the forced use of the norm.

Third, the location. The spread of knowledge must be anchored in a particular context because it is thanks to the existence a series of institutional determinations so that you can carry out a project of this nature. In this sense, speaking of location, reference should be made open to the proposal by Shangri-La editions. To locate in this environment, these reflections on the script, it must consciously to a relocation, allowing a limited opening and universalizing.

AUDIOVISUAL THE SCRIPT WRITER AND THE WORKING

theory, technique and creativity

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All material teacher is likely to split into two processes: the theoretical basis and practical application. However, analysis of audiovisual text-in which we place the following text-film, not suitable for standardized procedures or theoretical concepts immovable. This, in essence applies to all Audiovisual Narrative -understood as a catalog of expressive and narrative or, if preferred, possible code-constitutes its greatness and at the same time, the most worrying problem. On the basis of any analysis must have knowledge, of course, but above all, argumentation, reflection and imagination.

These pages are an attempt to systematize an eclectic model of film analysis with the aim of which is applicable to audiovisual in general. And when using the term "model" we are aware that no you can think of nothing but a tool, never a template or norm.

The main objective is to uncover what are the theoretical mechanisms that underlie the analysis for application to audiovisual texts, and although part of the film as a specific entity, the practical implementation must be feasible for any other audiovisual media . Such matters, therefore, can only be understood from the perspective of applied analysis: a minimum-but powerful-theory which leads immediately to its practical and effective. The interested reader should obtain tools, possibly multiple, and design their own path, based on coherence and argumentation.

AUDIOVISUAL TEXT ANALYSIS

significance and meaning

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How Long Does A Pinot Noir Last

No. 1
Guy Maddin. TRAVELLER IN TIME
ROBERTO LOVED

We introduce the concepts of DIY and handyman and craftsman and crafts as see places where transit Maddin, although we know that this move flees good measure of uniformity. DIY accepted include it understood from the term recovery made by Claude Levi-Strauss and collected by, among others, Jacques Aumont to establish a set of categories "Authorial". Use tools heteroclite using them against using both normal and use the finest materials and to the more modest to make films, are among the most striking features proposed Aumont * for this group and we we see only tangentially in Maddin.

More bluntly, we observed its associated Crafts idea to relate film director Sombra Dolorosa. That which is situated midway between the industry (production, distribution, display, ticketing ...) and DIY Home (experimental, almost private use) home to the filmmakers for every production need to find the financial means and specific art materials. Those who may soon become advantages and difficulties encountered, which are able to find their own solutions and cheap and always respond to addressing the real needs leaving out any temporary influences or impositions from outside (sound format and support, casting , etc.) jealous, because, in the design and care of their works. Director involvement in almost all aspects of production becomes a symptom of it, while an obstacle to their adaptation to the machinery of commercial and institutional work marked by rigid hierarchy and the fragmentation of responsibility.

* theories filmmakers, Jacques Aumont, Polity Press, Barcelona, \u200b\u200b2004.

Guy Maddin. TRAVELLER IN TIME
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No. 2
LANDSCAPES FOR THE NEW MILLENNIUM
MICHAEL MANN - DAVID LYNCH - BRIAN DE PALMA
CRISTINA ALVAREZ

If, as Serge Daney said cinema is an art of this recent work of directors like Michael Mann, David Lynch or Brian De Palma can be a benchmark for understanding the mutations in our contemporary world and how, in recent years, these mutations were reversed in the film transformed the landscape.

not a coincidence that an important part of the originality of the latest works of these three directors lie in the experiments have been conducted with different digital systems is that although Michael Mann, David Lynch and Brian De Palma have a personal, nontransferable universe populated by a recurring obsessions have been developing throughout his career from the various stylistic choices made and from different positions that each of them occupies in American industry, it is also true that the act of tracing the history of film to project to the present these worlds converge in many points to provide a multifaceted reflection of the changes experienced by the contemporary world .

LANDSCAPES FOR THE NEW MILLENNIUM
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No. 3
LOOK INSIDE. THE CINESCRITURA OF MARCEL HANOUN
NACHO Cagigas

experimental Assigned to a conception of film language, without sacrificing a humanist vision of great cultural value, Marcel Hanoun (Tunis, 1929) is one of the great classics of contemporary cinema today. Started in the world of cinema in the 50's, has developed an extensive filmography that reaches to the ground cutting edge of digital cinema, always providing a complex and profound gaze that reaches to show the hidden side, intimate and secret of the human soul. True to an ethical and aesthetic that puts a unique cinematic style personal treatment from any kind of economic and social conditioning that prevents self-expression and authentic, filmography Hanoun, bressoniana imprint, has managed to become one of concerning the great European film of all time since its inception, both the meaning of his images, such as claim a word and the office of the director as a craft fitted with a significance level similar to that of writing, an approach that he has named the cinescritura. It has also developed over the years, research on the film image can be considered one of the most lucid reflections that have occurred both visual and philosophical.

THE INTERIOR LOOK OF MARCEL HANOUN CINESCRITURA
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