A certain idea of \u200b\u200bcinema is the first part of a book (trial and manual) on the language of cinema ", as we 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 knowledge and make 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 cinematographic 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 "industry" as a double horizon bound (despite the evidence that all communication is a trade practice and trade), the "film-making process" as a single procedure (in which the aesthetic surrenders to the economic, and image / sound to the script and the argument), the "transparency film" as the ultimate goal (for opacity narrative stories such as "life itself" and against the density itself demonstrative show of images and sounds), the "assembly" as specificity cinema (against the action / cut as an act of original film) and, finally, the crutch of "image movement and specificity of the film (against the essential nature of "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 the materials enabled for any teaching material makes this text meets preset conditions which should, especially considering 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, we must point out the opportunity 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 dissemination of knowledge should be rooted in a particular context because it is thanks to the existence of a number 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
All teaching material is likely to split into two processes: the theoretical basis and practical application. However, analysis of audiovisual text-rooted in situate the film text, "does not fit standard 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 the audiovisual in general. And when using the term "model" we are aware that you can not think of anything 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 must obtain tools, possibly multiple, and design their own path, based on the coherence and argumentation.
significance and meaning
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