8/7/2019 Introduction to Filmmaking1-21
1/21
Introduction to
FilmmakingProduction Design
Sitges, Spain, 2011
1
8/7/2019 Introduction to Filmmaking1-21
2/21
I was aware that I didn'tknow anything about making
films, but I believed I couldn't
make them any worse than themajority of films I was seeing...
Bad films gave me the courage to
try making a movie.
Stanley Kubrick
2
2
8/7/2019 Introduction to Filmmaking1-21
3/21
The purpose is to make filmmakers aware o
the art and craft of production design for motion
pictures and to provide practical, technical, and
aesthetic guidance.
Well analyze when production designers are
doing their job.
Production design is associated with big-budget
and low-budget filmmakers think they will nothave access or that they wont need it.
3
3
8/7/2019 Introduction to Filmmaking1-21
4/21
Seeing the economic and creative success of
the cinematographer many people in Europe and America started to experiment and from the
essays and experiments surged new creative
languages, elements and technics that helped tell
the stories.Within this new findings were new shapes and
nstruments to move the camera, illuminate, edit,
etc, and soon the introduction of color and sound
were achieved.
From that point new schools and ways to
make movies emerge but all encompassed by the
universal cinematographic language.
4
4
8/7/2019 Introduction to Filmmaking1-21
5/21
Georges Mlis was the first person who made
films with artificially prepared scenes and for that hehas the merit of this new form of popular entertainment.
Within his film experimentation and as per singer
Paulus requirements, Mlis had to put a stage with
theatrical scenery and use 30 projectors for lighting,
this can be taken as the basic technique for creating
scenes.
After this experience he built a studio to protect
the films of the inclement weather and at the same time
begins seven episodes of the Greco-Turkish Warreproduced with models.
Then he can also have the merit of first art
director for incorporate to film the staging of a set.
5
5
8/7/2019 Introduction to Filmmaking1-21
6/21
6
6
8/7/2019 Introduction to Filmmaking1-21
7/21
In the early twentieth century and with aincipient film industry, the competition for the
market was fierce in both America and Europe.
Production requirements while creating the
largest studios of the world at the time, led LeonGaumont, director of the company to hire
separately the exsculptor Victorin Jasset as
director and Louis Feuillade as artistic director
and producer for their films, giving birth as to what is known as a production designer or art
director.
7
7
8/7/2019 Introduction to Filmmaking1-21
8/21
8
8
8/7/2019 Introduction to Filmmaking1-21
9/21
9
9
8/7/2019 Introduction to Filmmaking1-21
10/21
The Brighton School was characterised by their
contributions to the photographic language with thetraveling, and to the emerging language of cinema with
the editing intercuts (shot/counter shot), starting a new
syntax, distancing from the filmed-theatrical-plays and
further away from moving pictures. Their stories ranged
from drama to adventure and to create more excitementand veracity producers began filming in natural
landscapes with an exclusive cinematographic
narrative.
A representative film is Attack on a China Mission,
for its time a major production, comprising four set-ups
and cuttings between each. This was a first use of
montage: cutting between shots to heighten the drama
and to show reverse angles.
10
10
8/7/2019 Introduction to Filmmaking1-21
11/21
11
11
8/7/2019 Introduction to Filmmaking1-21
12/21
In 1908 the production company Film d'Art is
founded with the idea to end the monotonous themes,frivolous and vulgar at the time, especially Americans.
The idea of this school was resorting to majorclassics (Homer, Dickens, Shakespeare, Zola, Goethe,
etc..) And for the same year they premiered Themurder of the Duke of Guise, made in a stage on astunning scenery and represented by famous andrespected actors with a perfect characterisation.
The film as such resulted in a photographed
theatre, back to a still camera and a recital of dialogue.However, with the use of big actors created the starsystem, that is using the prestige of a star as a hook togenerate audience.
12
12
8/7/2019 Introduction to Filmmaking1-21
13/21
13
13
8/7/2019 Introduction to Filmmaking1-21
14/21
At the same time, in America, they were
experimenting with new genres: Westerns. Usingthemes and topics of the Wild West and as a main
distinctive feature and the long shots filmed in
very wild and extended landscapes.
The realisation of these landscapes werempossible to recreate neither by the best painters
and carpenters.
Also are recreated scenes of real life with a
very realistic approach to the subject, the settingsand the characters, giving way to super
productions located in diverse places and periods
thus generating new shooting techniques.
14
14
8/7/2019 Introduction to Filmmaking1-21
15/21
15
15
8/7/2019 Introduction to Filmmaking1-21
16/21
Then, with great commercial competence
for 1913 is filmed in Italy Cabiria by Piero Fosco,
where, for the first time and thanks to the
traveling shots the three dimensional sets were
enhanced, highlighting the importance o
architectural organization in the medium of film.
When italian filmmakers discover the
charm of the decoration and architecture create
the first film by avant-garde futurist Anton Giulio
Bragaglia Perfidious Charm (1916) in which were
sed objects as concave mirrors and prisms to
create an atmosphere.
16cont.
16
8/7/2019 Introduction to Filmmaking1-21
17/21
17
17
8/7/2019 Introduction to Filmmaking1-21
18/21
The Norse used the winter atmosphere of its
surroundings in order to use nature as another of hischaracters in the drama, creating psychological
environments in the stories, making this a natural
expressionist resource that gives way to the German
expressionist cinema.
The Cabinet of Dr. Caligari is the most representative ofexpressionism. It breaks all the history of aesthetics and is
clearly evident in the scenery and lighting (even get to paint
light and shadow on the sets) oblique chimneys and windows
and using all the scenery as another element of drama and
psychological distress and creating a threat in the viewer.
This movie created with the boldness of the scenery an
impressive plasticity where scenic pictorial content is more
important than the movement of the camera for storytelling
as the previous film work.
18
18
8/7/2019 Introduction to Filmmaking1-21
19/21
19
19
8/7/2019 Introduction to Filmmaking1-21
20/21
The Soviet cinema was based on the testing of visual
communication and revolutionary propaganda of thecircumstances. Then influenced the research andtheory of filmmaking giving structure to theproduction and to the script.
Sergei Eisenstein interprets the visualcommunist propaganda under the light of Da Vincisrenascentism.
Creates in his films the most crude odocumentary realism, the symbolism and the
aroque expressionism, reflecting the brutalrepression with bloody images, putting into practicetheir theory: from the image to the feeling and fromthe feeling to the idea.
20
20
8/7/2019 Introduction to Filmmaking1-21
21/21
21
Top Related